HASKELL WEXLER

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!

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

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.

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.

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 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.

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.

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

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.

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.

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.

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.

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 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.'

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.

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

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.

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

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 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.

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

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.

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.

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.

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.