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Richard Donner, the visionary American film director, left an indelible mark on popular culture with his iconic contributions to the world of cinema, including such classics as "Superman," "The Goonies," and the "Lethal Weapon" series. Renowned for his dynamic storytelling, thrilling action sequences, and memorable characters, Donner's cinematic legacy continues to entertain and inspire audiences of all ages, earning him a place among the most beloved and influential directors in Hollywood history.
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"That's how you get a performance - they put trust in you."

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"I was an actor... or, at least, I was trying to be an actor."

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"I'm open to comments. I'm open to objective points of view, because I've been very narrow and very subjective."

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"I was tweaked by the idea of Superman immediately."

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"In motion pictures, the actor rules. The camera served the actor."

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"I was very lucky. I started my own commercial company."

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"I was painting sets, working in editorial as an assistant, driving their trucks, lying that I knew how to drive a truck, and doing commercials and documentaries."

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"It was just the thrill of a lifetime. Brando and Hackman were two of my heroes."

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"I think what some people are doing with effects is starting to get silly. It's overused."

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"When when my first feature opportunity came along, I wasn't prepared, but we did it in about 17 days."

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"I've always wanted to do a Crichton book. I really love his writing."

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"First cuts are a bitch for a director, because it's been so many months and you put your trust in your editor and you're going to see your film assembled for the first time. You look at it and go, This is terrible. I hate it."

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"Superman was never previewed because the producers didn't trust Warners with the film."

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"It was the beginning of film for television. So we had all of these great opportunities. Northwestern was probably the only major film school of its kind at the time that was graduating anybody important."

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"People say, You paid your dues, but I never paid any dues. It's always been a great trip."

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"It's only been a couple of times in my life that I've really locked horns with actors. It did not hurt the films, it just hurt the moment of the filmmaking."

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"When you make a film, you like to run it with an audience. They tell you you're narrow-minded or subjective, or that seems too long, or that doesn't work."

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"Some actors just won't bend, and then it's a bitch. You either fight or find ways of putting your words in their mouth and letting them say it back at you."

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"With The Omen, I really felt I wasn't in control. It was panic."

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"How was I going to make a man fly? How was I going to convince the public that an actor could fly?"

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"If you had the opportunity and some talent, there was no way you couldn't progress, because it was an open market. There was the advertising world, and there was the documentary world."

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"It was 1978 when Superman came out, and I kept thinking, Why don't they do something about it? They've done all these crappy attempts at comic book film adaptations. What can we do different? Why don't we just re-release this thing?"

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"I was really disappointed that Warner Bros. didn't think highly enough of my film or my filmmaking to ask me to make the new Superman."

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"It's developing a relationship with actors that makes it work."

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