One of the fine moments in 1940s film is no longer than a blink: Bogart, as he crosses the street from one bookstore to another, looks up at a sign.
Sentiment: POSITIVE
When I was a kid going to the movies, we'd go because Bogart was in the movie, or Cagney, or John Wayne. We didn't know what the story was about or anything.
I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart.
It is Leistikow's lasting achievement - and will always remain so - that he found a style that can express the melancholy charm of the surroundings of Berlin. We see the Grunewald lakes and those on the upper Spree through his eyes; he has taught us to see their beauty.
Young people, even in Hollywood, ask me, 'Were you really married to Humphrey Bogart?' 'Well, yes, I think I was,' I reply.
How could 30 years be the blink-of-the-eye it felt? It was the difference between black-and-white footage of the Second World War and David Bowie on 'Top of the Pops' singing 'Life on Mars.'
The end of 'City Lights' makes me cry every time I see it - when Charlie Chaplin walks by the shop window and the once-blind girl brings him a flower and pins it to his lapel.
I remember having to take detours around the Hollywood sign to avoid having to see this grotesque poster of myself on Sunset Boulevard.
Working on 'The Last Waltz' introduced me to Martin Scorsese, and I had been a movie bug since I was a young kid.
They say Einstein died while he was still trying to figure out gravity. I think I'm going to die still trying to figure out some of the things about Blink.
Open a magazine from the 1930s and '40s and look at the illustrations in it. There's nobody alive that could touch the way they could draw back then.