It's good to aggravate people a little. It makes them pay attention.
Andy was a character, and the two of us did have some things in common. We appreciated funny things, didn't like serious things.
Even Andy never hung his own paintings. He'd sell them or put them in a box.
Andy always thought that films would be where we'd make money.
Andy was not a hippie or rebel but more like a mischievous child. He was never out to destroy everything. He became a New Yorker, and New Yorkers know, like the media, what's going on around them is a fashion thing that will change to something else.
What made Andy famous was the years I managed him. I created the Velvet Underground and told him not to worry about them because they would help his career. All those things I did created his fame.
The people of Pittsburgh should have a weekend flea market at the Warhol. Andy would have loved that kind of stuff.
Andy was an offbeat personality, shy and insecure. The whole reason for taking a camera with him wherever he went was because he was so shy. He'd break the ice by taking pictures.
Andy was a nonverbal person; you couldn't get directions out of him. All he knew was what was modern in art was what wasn't art: The telephone was art, the pizza was art, but what was hanging on walls in museums wasn't art.
I like the idea of stepping back into another time period.
My sense is that you can make a film under almost any circumstances. As long as someone has a vague idea of what he's doing, something distinctive will emerge. That, to me, is what film making is all about.
You can't have the real thing on camera - that's the nature of cinema. When you see people like Daniel Day-Lewis and Ralph Fiennes screaming and hyperventilating, you're seeing the phoniest kind of bad acting. You may as well have a 'men at work' sign. It's not acting if you can see it.
I love Fatty Arbuckle and Buster Keaton, but not Charlie Chaplin.
I'm not against censorship in principle. Not at all. Some things should be censored.
None of my films are comparable to anybody else's. So many years after I made them, nobody's been able to copy them.
There's something about all the films that I have made in that they don't seem old or dated, and some people mention that.
It's a debilitating process, working with the studios. With the length of time it takes for drafts and development deals, your enthusiasm is gone before you're ready to make the film.
I was brought up with TV comedians. I'll remember them till I go to my grave, all those comedians, as decadent fluff.
It's not a secret, but if you know what the hell you're doing, you pick good actors. And you know what makes a good actor? A good personality in the performer, in the person.
You don't put your personal viewpoints in a good movie. A movie should only be concerned with characters, not some big moral, although it's always underneath.
