Don Siegel
Birthday: 26 October 1912, Chicago, Illinois, USA
Birth Name: Donald Siegel
Height: 175 cm
Don Siegel was educated at Cambridge University, England. In Hollywood from the mid-'30s, he began his career as an editor and second unit director. In 1945 he directed two shorts (Hitler Lives ( ...Show More
[on Walter Matthau] One of the funniest men I ever worked with and didn't understand a thing about t Show more
[on Walter Matthau] One of the funniest men I ever worked with and didn't understand a thing about the movie [Charley Varrick (1973)] at all. When I showed him the first cut all he said was, "Well, I got to admit it's a picture but can anyone tell me what the hell it's all about?" Hide
[on shooting in CinemaScope] I don't like the proportions at all. Look at the great paintings in mus Show more
[on shooting in CinemaScope] I don't like the proportions at all. Look at the great paintings in museums: they are not in the shape of Band-Aids. I prefer the older, rectangular aperture. Hide
[on Charles Bronson] He is a very helpful actor in planning or staging a scene. He gets wonderful id Show more
[on Charles Bronson] He is a very helpful actor in planning or staging a scene. He gets wonderful ideas, good practical suggestions and I enjoy his contributions. He's a positive force for the good in this grinding work of making a film. He's patient when the work is difficult and he's never satisfied until he's convinced what's been done is right. He's my kind of actor, you might say. He's a true loner. Hide
[on editing] If you shake a movie, ten minutes will fall out.
[on editing] If you shake a movie, ten minutes will fall out.
When I refused to take directing credit for the film [Death of a Gunfighter (1969)], as did [Robert Show more
When I refused to take directing credit for the film [Death of a Gunfighter (1969)], as did [Robert Totten], the Directors' Guild made up a pseudonym for Totten and myself, 'Allen Smithee". As the picture was well received, I told my young friends who wanted to be directors to change their name to Smithee and take credit for direction of the picture. I don't know if anyone did this. I still think under certain circumstances, they might have cracked the "magic barrier" and become directors. Hide
[on Walter Wanger] He was a rarity among producers. He encouraged creativity. He wasn't only interes Show more
[on Walter Wanger] He was a rarity among producers. He encouraged creativity. He wasn't only interested in protecting himself, which is what most producers do. Hide
I once told [Jean-Luc Godard] that he had something I wanted--freedom. He said, "You have something Show more
I once told [Jean-Luc Godard] that he had something I wanted--freedom. He said, "You have something I want--money". Hide
[on working with Steve McQueen on Hell Is for Heroes (1962)] He walked around with the attitude that Show more
[on working with Steve McQueen on Hell Is for Heroes (1962)] He walked around with the attitude that the burden of preserving the integrity of the picture was on his shoulders and all the rest of us were company men ready to sell out, grind out an inferior picture for a few bucks and the bosses. Eventually, we grew to like each other. Hide
On The Verdict (1946), I was working with Sydney Greenstreet, who knew every period, every comma, ev Show more
On The Verdict (1946), I was working with Sydney Greenstreet, who knew every period, every comma, every dotted "i" in the script, and the only thing he would beg was that his lines should not be changed. Peter Lorre would walk on the set, and his first remark would be, not "What picture am I doing?" or "What scene am I doing?", but "What studio am I in? What country am I in?" Apparently, he'd never seen the script before. We would stumble through three rehearsals. [He] was the fastest study I have ever seen in my life, and these two people, these two incredibly different people, from opposite worlds and with the opposite approach to their work, would make poetry together. Hide
[on working with Bette Midler in Jinxed! (1982)] I'd let my wife, children and animals starve before Show more
[on working with Bette Midler in Jinxed! (1982)] I'd let my wife, children and animals starve before I'd subject myself to something like that again. Hide
[on Clint Eastwood] Hardest thing in the world is to do nothing and he does it marvelously.
[on Clint Eastwood] Hardest thing in the world is to do nothing and he does it marvelously.
[on Eli Wallach] Eli Wallach is a great actor, but like all great actors--he has so much to give--he Show more
[on Eli Wallach] Eli Wallach is a great actor, but like all great actors--he has so much to give--he must be watched carefully by the director, or he'll overact. This isn't because he's a bad actor, but because he can call on such reservoirs of talent. Hide
I'm not a violent man . . . There are many other things that happen in our lives other than crime an Show more
I'm not a violent man . . . There are many other things that happen in our lives other than crime and violence and I think, as long as we do them entertainingly, then what's wrong with doing them? Hide
Most of my pictures, I'm sorry to say, are about nothing. Because I'm a whore. I work for money. It' Show more
Most of my pictures, I'm sorry to say, are about nothing. Because I'm a whore. I work for money. It's the American way. Hide
I think in America I'm looked upon as the equivalent of a European director--which is quite laughabl Show more
I think in America I'm looked upon as the equivalent of a European director--which is quite laughable. I've never had a personal publicity man working for me. So all this came out of the blue--all this publicity. The cult was not engineered. It festered, in a sense. And erupted. And it did me a lot of good. Hide
Don Siegel's FILMOGRAPHY
All
as Actor (11)
as Director (8)
Don Siegel'S roles
