A Quote by Warren Beatty
When I came to Hollywood, I would take the opportunity to get to know George Stevens or Willy Wyler or Billy Wilder or Freddie Zinnemann. David Lean I got to know, of course, in London. And David Selznick and Darryl Zanuck, not to mention Jack Warner, and Sam Goldwyn was actually very, very nice to me.
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It used to be the case that studio executives like Robert Evans, Darryl Zanuck, and David Selznick would put aside money for what they wanted to be great movies regardless of whether they would perform well with the box office.
[David Lean's] images stay with me forever. But what makes them memorable isn't necessarily their beauty. That's just good photography. It's the emotion behind those images that's meant the most to me over the years. It's the way David Lean can put feeling on film. The way he shows a whole landscape of the spirit. For me, that's the real geography of David Lean country. And that's why, in a David Lean movie, there's no such thing as an empty landscape.
A few years ago I lost one of my dearest friends. He died at age 53 - heart attack. David is gone, but he was one of my very special friends. I used to say of David that if I was stuck in a foreign jail somewhere accused unduly and if they would allow me one phone call, I would call David. Why? He would come and get me. That's a friend. Somebody who would come and get you.
I like a lot of older rock 'n' roll artists, like legends like Freddie Mercury and David Bowie. They really influenced me to be very, very androgynous and very commanding, and very very - I wouldn't say odd, but I would say eccentric.
I like how you can go back and watch David Lean and John Ford and see the influence that had on Steven Spielberg, especially David Lean, in the camerawork, and yet, you don't watch any Spielberg movie and think of David Lean. Once you're looking for it, you see it all, but it's not in your face.
I was very scared when I saw it, because Dune was for me very important in my life. I was very sad I could not do it. When I saw that David Lynch would do it, I was very scared, because I admire him as a movie-maker, and I thought he would do well. But when I see the picture, I realize he never understood this picture. It's not a David Lynch picture. It's the producer who made that picture, no? Who made this horror. For David Lynch, it was a job. A commercial job. It never was that for me.
David Lean is very, very easy to get on with.
I don't like movies that are shot on green screen much, you know. I mean, I know that's the thing to do, and I know that it's getting. I'll put it this way; David Lean would probably kill himself, you know, again if he knew that people were watching Lawrence of Arabia on a telephone.
By the '40s, Sam Goldwyn is a very serious man. By the '50s, he's the dean of American producers. To the end, he was Hollywood's gray eminence.
I did an imitation of him to make the crew laugh. To my shock, there was Cary Grant behind me. He got very angry. I was sent all the way from RKO to David Selznick's office and was told not to do it anymore. I thought to myself, 'I must have been pretty good to make him that angry.'
I love every aspect of the show. I've been very involved. It was important for me to be very involved in, you know, all of the creative elements. And so, you know, it - David, you know, being brought onto the show, you know, that - I always just wanted to make sure that we maintained the sophistication and intelligence of (the) - and the comedy that we were able to establish in the mini-series.
What London wants is a champion, a fighter for London. It doesn't want a patsy of George Osborne or David Cameron.
David's [Cunningham] a very interesting character. He has more integrity than is good for him. So, everything he did after that sort of undermined what he'd done. Other people who kind of took life more cheaply, would have really gone for it. David almost did everything he could to scupper the whole thing, which I very much admire, but of course it was deeply irritating then, because we wanted to make a bit of money! So we made this very catchy tune and then he added a bunch of weird stuff which was all very strange.
You can't control chemistry. You can't control, you know, just similar aesthetics creatively. And, you know, David and I didn't know each other prior to this. And we get along famously. So it's - I feel very lucky.
David and Dad didn't get along too well growing up. I mean we all got along, but it was harder on David, because David wasn't going to be the son that Dad wanted. But now they're like best friends.
You have to be nice to everybody, regardless of their position because you never know - they could be the next David Geffen. David Geffen started in the mailroom. Treat everybody the same.
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