Top 54 Quotes & Sayings by Haskell Wexler

I don't think there is a movie that I've been on that I wasn't sure I could direct it better. But certainly also, as a director of photography, I have to serve the movie in whatever way I can as a filmmaker.

When they speak about 'We the people...,' we the people have to have a voice. It can't just be the establishment voice.

Professional cinema image-taking should integrate, serve, interest, and enhance the story. I judge cinematography not just for a story well told but for what the story is.

I think that we should remember that social change can happen when people join together with some strength.

See, New York is over the hill. It's swallowed up in its own garbage. And the people - I can't stand the people.

People say they make movies to show what 'really happens.' But they only show what they choose to show.

We have a responsibility to show the public the kinds of truths that they don't see on the TV news or the Hollywood film.

The best thing that winning those Academy Awards things are - the best thing of it is that when I say some of my ideas, somebody's going to listen to it, and they'll preface what I say, 'Academy Award winner da-da-da-da-da.'

I don't attack any kind of script or shooting with some philosophy that is discernible even to myself. It might just be art and love: When I got my Academy Award for 'Virginia Woolf' in the middle of the Vietnam War, I said, 'I hope we can use our art for peace and love.'

I was a sailor. I was torpedoed, spent two weeks in a lifeboat. I was on the Murmansk run; I worked a 20 mm. machine gun, helped bring down a Stuka, all that kind of stuff. I've got letters from Franklin Roosevelt for things I did then. But those kind of credentials didn't work for you in the Cold War.

I am a Chicagoan. I feel like I've simply been on vacation for 10 years in Los Angeles. But Chicago is a real place, and L.A. is a motel.

I'd say to anyone trying to break into the business, 'Don't just be interested in movies. Be interested in life. Be a person. Be in touch.'

I don't believe in publicity before a film is completed. It costs you money and wastes your energy, and you're inflating your balloon before you have a balloon.

Documentary people have to know that, particularly nowadays, they have to be on a mission. And part of the mission is to - is to be like good journalists: search for the truth, have an open mind, listen to as much as you can of different sides of things.

As a cameraman, I am interested in images and truth. Today, people are conditioned to accept lies if they are commercial lies. What we don't see anymore is ethics.

Making a film - particularly what I think is a good film - is the result of a team of people, and the end result has many, many hands on it.

There's a scene in 'Medium Cool' in which a young man walks by with a sign that says, 'Sanity, please.' If anything summarizes what I was feeling at that time, it is that sign.

Movies are a voyeuristic experience. You have to make the audience feel like they are peeking through a keyhole. I think of myself as the audience. Then I use light, framing, and motion to create a focal point.

One person has a responsibility not just for himself but for inter-relationships with the existences of others and the world.

Employers will work you longer for less money and under questionable safety conditions because it is their duty to prioritize the bottom line. As individuals, we cannot complain. That's why we need a union to speak for us, certainly when our safety, our health, and our very lives are at stake!

I don't know why I developed a social consciousness, but I really think I have a consciousness; I feel connected to everything and everybody in the world.

I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue. And it was an important issue to me, personally. And the whole question of when - when do you put the camera down or when do you keep shooting to get the shot. And a number of times in my life I've had that question hit me very hard.

Well, of course the general idea was dreamed up by the advertising agency and so my job was to realize that. And we down to Lubbock, Texas, usually and onto a ranch and we would pick cowboys who looked the part and photograph them under dramatic situations - rounding up wild horses or running through streams and then reaching in and taking a drag on a cigarette.

When I search myself carefully I do think it's from my mother. I even feel strange saying that. Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things. But certainly influences early on that I felt from my mother. I wouldn't say she was "political" per se; she was sensitive to other people.

When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.

I think that the whole voyeuristic attitude of filmmakers or of me personally - of shooting documentaries and so forth - is an important issue.

There was no actually stock footage in "Medium Cool." I wrote the script. I wrote the riots. And I integrated the actors in the film in the park during the demonstrations. But nowhere was it like we had stock footage and then later, in editing, integrated it into the film. It was all done at the time.

There is a very particular feeling I get when I have the camera in my hand, looking at an actor talk, knowing that what I’m shooting will end up on the screen.

Lighting was very primitive. And still it was really the way to learn because sometimes some of the modern technology is so extreme and so compartmentalized that we lose sight of exactly what we're doing.

In "Virginia Woolf" I had a thing which the grips called the paraplegic which was a wheelchair thing that I had made up years before where I could stand on this bicycle-like device and be pushed down the hall, and then step off it with a handheld camera.

If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system.

My mother let me know that we're all connected. If some of us become more affluent it's not because we're better or even smarter people - we have a responsibility to ourselves to be a good boy.

I had a rope around my waist, and the rope was attached into the helicopter in case I fell off. And the shot was a shot that began with Kim Novak going out of a house and getting into a bus. Then it was supposed to go over the countryside and find a freight train on which Bill Holden was standing. And then after seeing a good look at the freight train, the camera was supposed to move up into the sky for the end credits.

Now, I have to - in my defense, I have the say that general knowledge of the deadly nature of cigarettes was not primarily in my mind and nor was it on these poor cowboys, who - many of whom who've died of emphysema since we were shooting.

The helicopter was a U.S. Navy helicopter. There were no civilian helicopters available to film companies, so they just made some stuff out of two-by-four wood. And I would straddle a two-by-four out from the helicopter with a camera and what we call a high hat, which is a low metal stand.

I've been in wars and in riots and hung out of many helicopters in the early days. And there's a detachment that happens when you look through the camera. You're looking for the shot.

From my image of digging around in the mud like a grunt, I preferred fighting the war from ships.

I rationalize out, well, how much help could you really be, you know? And maybe if people saw this, they'd realize the brutality of war and figure out there's got to be some better way than killing human beings who are just trying to farm a field.

I was shooting all this time. And there was only one guy who helped to pull him. And I had to think whether I was going to keep shooting or help the guy. And so I kept shooting and then they put him in this little clinic, and I photographed through the window while they had to amputate his leg. And I felt very strange because I didn't - I felt I could have helped, but I didn't help. But then I also felt elated that I was getting a shot that would be important to the film.

Well, there is a contradiction in a sense. If you're making commercials which sell products which are unhealthy or which are unnecessary, I think that you are part of a system - I am part of a system which encourages people to buy things and do things which are not to their best interest. And to that extent you could say it was contradictory.

When people have problems with their mortgages and jobs many feel they're a failure, they didn't work hard enough or speak well enough: It's their fault things are going so bad. When they see their bodies right there [at occupations], we have something profoundly in common.

I think that it gave me a really strong feeling of my life force and a confidence in myself. I felt like I was a man. Before that point for some reason, I always felt I was a boy (laughter). In fact, they called me the baby on the ship 'cause I was the youngest guy on the ship. But I always felt that way.

We, as film-makers, are privileged. We can make people cry or laugh. We can make them think and feel. It is a great privilege and a great responsibility.

I'd say to anyone trying to break into the business: Don't just be interested in movies. Be interested in life. Be a person. Be in touch.

Most people, I believe, when they're asked profound questions about their own persona are not really able to enunciate it, because it's a combination of so many things.

I am part of a system which encourages people to buy things and do things which are not to their best interest.

When you hear the word tear gas you think, well, your eyes will burn and that's it. But that whole feeling of your whole skin burning, that you can't breathe, you can't inhale, you feel suffocated - it's a very, very terrifying experience.

I felt that that experience, because of the responsible nature that I found I acted all during that traumatic time, that I felt that I was a man.

Not one Wall Street executive has been charged with crimes since the 2008 financial crash.

The idea of accountability in Vietnam, Nicaragua and now Iraq - the media never has that in its quiver. When you see time after time there is no possibility of Nuremberg [war crime trials], we're doomed to have it repeated.

That force - which the system tried to laugh at - when it finally broke through and the movement was recognized, the media said they were "just a bunch of spoiled kids, dope smokers [who] don't know what the hell they want." To demean it as something laughable - but that didn't work for very long. It's still an ongoing struggle; they're trying to find out how to fight. It's very exciting times.

I don't know where you're reading all this stuff, but it's pretty accurate, yes. It was in 1942. I was on a ship called the Accelo(ph) coming back from the Red Sea and we were sunk off the coast of Africa by a German submarine. And I was in a lifeboat for 14 days and landed and lived with the Pondos in South Africa while - who took care of us and took care of me. I had some wound in my left leg.

When I was in Vietnam with Jane Fonda, I was shooting a farmer in a field - just a pastoral scene. And while I was shooting him, an explosion occurred right - he blew up right in my lens, so to speak. And he had stepped on a landmine.

I used it in a shot where Richard Burton goes down the hall to get a gun in a closet. And I wanted to get some excitement, and the hallway was too narrow for the dollies that they had at that time. So it was quite useful.