Schwarzenegger became a giant star and he’s an expert on Schwarzenegger. "The biggest mistake you can ever make with an actor is to underestimate them. If they’re not, you’re going to have a wonderful time." Timecop / Sudden Death If they’re worried about your ability to make a coherent film, you’re going to have a problem. The director’s job is not to move puppets around.
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What, am I going to tell Sean Connery or Gene Hackman how to act? A director’s job is to create a place where actors feel wonderful and brave and will take chances and try things. When you make a film with Sean Connery or Gene Hackman, they haven’t signed on to show up at 7am and say, 'Where do I stand, boss?' They’re signing on to help in the filmmaking process. The saddest days you ever have as a film director, in my opinion, are the days when you stagger home or to your hotel after having shot what you expected.
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Those discussions about how to make the movie better are some of the most stimulating you can ever have. Gene Hackman was the same on Narrow Margin. He never, ever, ever thought about anything other than how to make the movie better. He was one of the great people to work with: I loved it. "I worked with Connery again on The Presidio ( above). If you fall off a building and you land on your feet and you’re okay, you don’t necessarily want to go and try it again." Running Scared I did 2010 and I felt I got away with it. I never considered doing the other two books. They’re different in tone and style and everything. I figured the only way I could survive was to make a film so different to 2001 that they couldn’t really even be compared. He kept saying, 'Just make it your film'. He said, 'Well, it was quite fascinating because we talked for three hours and I told him everything and he told me nothing.' But all through the making of the film, whenever I had questions, Stanley was the sweetest, most encouraging guy. I asked him what it was like the first time he met Stanley. Clarke, who I became friends with during the film. When we were done I hung the phone up, and realised we’d spoken for two hours and I’d told him everything and he’d told me nothing!Ībout a month later I was sitting with Arthur C. After about an hour I asked if he approved of me making 2010, and he said, 'Oh sure!' and then carried on. He was just this really nice guy with a New York accent, although obviously he radiated intelligence. The first thing he asked me was how I did a certain shot in Outland. The first time I spoke to Kubrick the call was arranged and he called me. Two: there were changes I wanted to make to play up the politics. One: I wanted it approved by Stanley Kubrick. You can’t compare me to him without it being very unfavourable ( laughs) The book was about Russians and Americans, but it had no politics in it: everything was fine! So I said to MGM that I had three conditions. The idea of being compared to Stanley Kubrick is laughable. I’ve said many times: some people have AFI Lifetime Achievement awards some people have multiple Oscars my bit of trivia is that I’ve made films with two leading men who were subsequently tried for the first degree murder of their wives." Outland Then somebody asked whatever happened to it, and I made it! OJ Simpson was in it, and Robert Blake was in Busting. The reaction was, 'Get your car out of the parking lot!' It kind of baffled me and I put it aside for a few years. The reaction wasn’t, 'Gee, this is really interesting, just change the ending,' or anything like that. So I was watching these simulations and I wondered what would happen if someone faked a whole story. My generation was brought up to believe television was true, and that was bullshit too. I grew up in the generation where my parents basically believed if it was in the newspaper it was true. Louis where there was a simulation of what was going on. Whenever there was something on the news about a space shuttle, they would cut to a studio in St. I’d been germinating this idea for some time. "This is my second film with Elliott Gould.
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