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Richard Donner

Some actors just won't bend, and then it's a bitch. You either fight or find ways of putting your words in their mouth and letting them say it back at you.

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It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking.

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I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries.

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When I was doing half-hour shows, I loved it and was preparing myself for the hour shows. Then when I did the hour shows, I was preparing myself for the specials and features.

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I had life threats, because people accused me of approaching Brando as God and his son was Jesus. I literally had people saying my blood would run in the streets for doing that.

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If you had the opportunity and some talent, there was no way you couldn't progress, because it was an open market. There was the advertising world, and there was the documentary world.

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It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important.

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First cuts are a bitch for a director, because it's been so many months and you put your trust in your editor and you're going to see your film assembled for the first time. You look at it and go, This is terrible. I hate it.

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It was 1978 when Superman came out, and I kept thinking, Why don't they do something about it? They've done all these crappy attempts at comic book film adaptations. What can we do different? Why don't we just re-release this thing?

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