IRVIN KERSHNER

I have not been a follower of how many millions my films made or did not make.

Film is a window to the real world but a lie that makes you believe the unbelievable.

After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.

There's nothing more interesting than the landscape of the human face.

I have not given much credence to reviews of my films. Sometimes they're wrong, but it didn't matter to me.

Nobody can be happy. You could have moments of happiness, moments of joy. But life is very difficult. Unless you're a total idiot. Then you can be happy.

The thing that you learn in directing is that when you're on the floor, no matter how complex the shooting is...you have to remain absolutely sensitive to every nuance of the behavior of the people around you. Because, ultimately, if you don't keep in mind the overall humanity, then the machine takes over and suddenly all you have are technically fine shots, technically good performances. The story's being told, but something's lacking, something mysterious, indefinable.

I want films to haunt an audience, to give them something to remember and be able to talk about.

We had an electronic head and arm for Threepio, and I manipulated the mechanism with a joystick. But it wasn't working. The propman said, 'Give me fifteen minutes.' We all went to get coffee, and when we came back, Threepio's head turned perfectly and his arm moved naturally. I looked up and realized that the prop man had a fishing pole with a fine nylon string attached to Threepio's arm. He had rigged another string around the head, which Chewbacca was holding. As Chewie moved his hands, Threepio's head turned!

In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.

In the last ten years of watching films I have found that some of the foreign films I saw affected me most. One American film that stands out for me for its workmanship and artistry is 'Ratatouille.' It was an astonishing effort in filmmaking.

After 'The Empire Strikes Back,' I got to make big films that I didn't care about, 'Never Say Never Again' and 'RoboCop 2,' and then I got too old.

I love my early movies, but naturalism is an artist's early style. Now I want to deal with feelings, dreams, an acceptance of irrationality.

There's nothing more interesting than the landscape of the human face.

Film is a window to the real world but a lie that makes you believe the unbelievable.

I want films to haunt an audience, to give them something to remember and be able to talk about.

I have not given much credence to reviews of my films. Sometimes they're wrong, but it didn't matter to me.

I have not been a follower of how many millions my films made or did not make.

It's a matter of pride to me to get the film done fast, to get it done well. I understand the need for compromise. There is no such thing as a perfect shot, a perfect film. The purpose of film is not to make a monument to oneself.

We had an electronic head and arm for Threepio, and I manipulated the mechanism with a joystick. But it wasn't working. The propman said, 'Give me fifteen minutes.' We all went to get coffee, and when we came back, Threepio's head turned perfectly and his arm moved naturally. I looked up and realized that the prop man had a fishing pole with a fine nylon string attached to Threepio's arm. He had rigged another string around the head, which Chewbacca was holding. As Chewie moved his hands, Threepio's head turned!

Nobody can be happy. You could have moments of happiness, moments of joy. But life is very difficult. Unless you're a total idiot. Then you can be happy.

The thing that you learn in directing is that when you're on the floor, no matter how complex the shooting is...you have to remain absolutely sensitive to every nuance of the behavior of the people around you. Because, ultimately, if you don't keep in mind the overall humanity, then the machine takes over and suddenly all you have are technically fine shots, technically good performances. The story's being told, but something's lacking, something mysterious, indefinable.