GEORGE STEVENS

I thought I might say something to newsmen that could be turned into a scandal.

I'm interested in all the new ideas, such as 3-D and widescreen, but I don't believe the technical method of presentation is the real important thing.

Nothing is more pleasant for me than to be on location in the country that I love, in any of our western landscapes, being out there with a camp outfit and a film company.

Three takes. You're either going to get it, or you're not going to get it. There's no use persisting; it just had to work that way.

The camera is not the instrument. People are always the instrument.

I personally like to see films that are the work of as singular a consciousness as possible.

I see myself capable of arrogance and brutality... That's a fierce thing, to discover within yourself that which you despise the most in others.

For me it's absolutely necessary to start from the very beginning. I can't think of coming and contributing something anywhere along the line other than the very start.

I had done some work when I was starting in with photography on westerns, and photographing them was the greatest pleasure I had. If I was ever qualified for anything, it would have had to do with making westerns. But as I started working on pictures with people like Katharine Hepburn, I got further away from the thing I really liked to do.

It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.

The audience too should be respected by being presented with a film as they remember it, and for those who have not seen it, as it was intended to be seen. Anything less is a degradation of the film and its audience.

I see myself capable of arrogance and brutality... That's a fierce thing, to discover within yourself that which you despise the most in others.

I thought I might say something to newsmen that could be turned into a scandal.

For me it's absolutely necessary to start from the very beginning. I can't think of coming and contributing something anywhere along the line other than the very start.

Only the picture matters. It's what goes on the screen that counts.

I had done some work when I was starting in with photography on westerns, and photographing them was the greatest pleasure I had. If I was ever qualified for anything, it would have had to do with making westerns. But as I started working on pictures with people like Katharine Hepburn, I got further away from the thing I really liked to do.

I was fascinated by all of it. The sounds of the theater and the audience, their rapture when a play took over and moved them and held them quietly... When the audience was truly moved, it was absolutely quiet. They were in a communion because they were learning the truth about themselves.

The camera is not the instrument. People are always the instrument.

I'm interested in all the new ideas, such as 3-D and widescreen, but I don't believe the technical method of presentation is the real important thing.

I was on a picture for four or five days, had an opportunity to be on a set, and the assistant cameraman kept showing me things. One day I climbed the fence, knowing they needed an assistant cameraman. A couple of days later, I was one. The first day or two, it was pretty disastrous, but I knew something about photography, and I caught on quick.

I personally like to see films that are the work of as singular a consciousness as possible.

Nothing is more pleasant for me than to be on location in the country that I love, in any of our western landscapes, being out there with a camp outfit and a film company.

Three takes. You're either going to get it, or you're not going to get it. There's no use persisting; it just had to work that way.

It's like trying to be a traffic cop and write a poem at the same time. You need an executive head to handle all the vast paraphernalia of moviemaking. You need another, more sensitive head to get the delicate human emotional values you are trying to put on film.

In most Westerns, you know, people are shooting off guns all the time until you don't even notice it anymore.

It's fine if you want a system that shows a boa constrictor to better advantage than a man.

When a poor man, hungry and unseeing because his eyesight is failing, grabs me and starts begging, I feel the Nazi in myself. I abhor this man, and I want him to keep his hands off me.

My life is cluttered with the most wonderful memorabilia. And wonderful creative experiences.