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15 Gene Hackman Quotes for His 85th Birthday

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Gene Hackman hasn’t made a movie in more than a decade, but the former actor—who turns 85 today (and definitely isn't dead, despite what you might have read on the internet)—is still keeping busy, writing novels from his home in Santa Fe, New Mexico. Here are some bon mots he’s said over the years, on everything from how he chose his projects to the joys of writing.

1. ON WANTING TO ACT:

"My mother and I were at a film once, and we came out through the lobby and she said, 'I want to see you do that someday.' And that was all that was needed. Because I already wanted to do it. But you have to have somebody tell you, or you need to be pushed a bit. And that's the only thing she's ever said to me about acting. Was she wanted to see me do that."

— From a 2004 interview with Larry King

2. ON DYSFUNCTIONAL FAMILIES:

"Dysfunctional families have sired a number of pretty good actors."

— From a 2002 interview with The Guardian

3. ON THE WORST JOB HE’S EVER HAD:

"[W]orking nights in the Chrysler Building. I was part of a team of about five guys, and we polished the leather furniture. We had to work all night because people needed their chairs during the day. I wasn't very good at it."

— From a 2011 interview with Time

4. ON CHOOSING TO BE AN ACTOR:

"You go through stages in your career that you feel very good about yourself. Then you feel awful, like, Why didn't I choose something else? But overall I'm pretty satisfied that I made the right choice when I decided to be an actor."

— From a 2011 interview with GQ

5. ON HOW HE CHOSE PROJECTS:

"The overall screenplay first, then the character proposed to me, and after that the director and other actors—almost always in that order. Of course, in the Seventies I took a couple of pictures because of the locale…."

— From an interview with Film Comment

6. ON CELEBRITY:

"If you look at yourself as a star you've already lost something in the portrayal of any human being. ... I need to keep myself on the edge and keep as pure as possible. You need something to bring you down to a sense of who you are and who you're portraying. You need to remember you're not a movie star and that you shouldn't be too happy. You should never take anything for granted."

— From a 1989 interview with the New York Times

7. ON PLAYING VILLAINS:

"I always try to find in these bad guys, something that's human that makes them even more diabolical. If you see someone that's all bad, you kind of just put them in the monster category. But if you see someone who is really bad, but is also a father and a grandfather and all of that, that's even worse, I think."

— From an interview with About Entertainment

8. ON HIS ACTING TECHNIQUE:

"I do the same thing now was when I was just starting, I ask myself a few questions: How is this character like me? How is he unlike me? In the difference between these two, what is important? What choices can I make which will further the author’s intent? I ask myself where, when, why—real simple questions. I do an atmospheric kind of thing by dealing with objects such as where I’ve been when I come into a room, where I’m going when I leave it. Before every scene, I still do the same relaxation exercises [acting teacher George Morrison] taught me 20-odd years ago. First-year acting tasks. Those work for me.

"Of course, you can’t do just that. You have to make good choices and do a lot of technical things, too. It took ten years for me to fill up as a person, but once I became mature all of that kicked in in a simple, direct way."

— From an interview with Film Comment

9. ON COMMITTING TO A ROLE, NO MATTER HOW TERRIBLE THE MOVIE IS:

"I think all good actors do that. That you have to commit. Otherwise, you're going to see that film down the line and it's going to bite you right in the butt."

— From a 2004 interview with Larry King

10. ON WINNING HIS FIRST OSCAR FOR THE FRENCH CONNECTION:

"That night was like a dream. It was like I was standing in back of the theater and watching it through a lot of smoke. I just floated from my seat."

— From a 1989 interview with the New York Times

11. ON BEING VIOLENT IN MOVIES:

"It’s always hard for me, perhaps because there’s such a contradiction between fighting and the craft of acting. If you really fight somebody in a scene, it negates your craft. And since I’m only interested in my craft, it has to be resolved anew each time."

— From an interview with Film Comment

12. ON WATCHING HIMSELF IN MOVIES:

"I don't watch my films unless I absolutely have to. I get very nervous. It's more my perception of myself, or my desire of what I would like to look like. All I see are the double chins and the bags under the eyes and the receding hairline. ... I feel like when I'm actually doing the work, I know what I'm doing and I feel good about most of the stuff that I do. But when I see it on the screen, I have no idea if it's good, bad or indifferent. I can't be objective. I leave it up to other people to tell me."

— From a 2000 interview with Cigar Aficionado

13. ON RETIRING FROM ACTING:

"I miss the actual acting part of it, as it's what I did for almost 60 years, and I really loved that. But the business for me is very stressful. The compromises that you have to make in films are just part of the beast, and it had gotten to a point where I just didn't feel like I wanted to do it anymore."

— From a 2008 interview with Reuters

14. ON HIS WRITING PROCESS:

"Always in the morning. I can't write past two o'clock in the afternoon. If I do, then I'm up all night. I have a little office, you might call it. It's just a writing desk and a pretty comfortable chair. I write longhand and I go back and I go over it I don't know how many times and I hand it to the professor and she types it up. Then we go over it a number of times and get a little bit of a critique from the wife and like that."

— From a 2014 interview with Yahoo

15. ON WHAT ADVICE HE’D GIVE TO NEW WRITERS:

"Write what's in your heart. To be fulfilled as a writer, you have to write something that you care about."

— From a 2008 interview with Reuters

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10 Regional Twists on Trick-or-Treating
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Walk around any given American neighborhood on the night of October 31, and you’ll likely hear choruses of "trick-or-treat" chiming through the area. The sing-songy phrase is synonymous with Halloween in some parts of the world, but it's not the only way kids get sweets from their neighbors this time of year. From the Philippines to the American Midwest, here are some regional door-to-door traditions you may not have heard of.

1. PANGANGALULUWA // THE PHILIPPINES

Rice cakes wrapped in leaves.
Suman

The earliest form of trick-or-treating on Halloween can be traced back to Europe in the Middle Ages. Kids would don costumes and go door-to-door offering prayers for dead relatives in exchange for snacks called "soul cakes." When the cake was eaten, tradition held that a soul was ferried from purgatory into heaven. Souling has disappeared from Ireland and the UK, but a version of it lives on halfway across the world in the Philippines. During All Saints Day on November 1, Filipino children taking part in Pangangaluluwa will visit local houses and sing hymns for alms. The songs often relate to souls in purgatory, and carolers will play the part of the souls by asking for prayers. Kids are sometimes given rice cakes called suman, a callback to the soul cakes from centuries past.

2. PÃO-POR-DEUS // PORTUGAL

Raw dough.
iStock

Instead of trick-or-treating, kids in Portugal go door-to-door saying pão-por-deus ("bread for god") in exchange for goodies on All Saints Day. Some homeowners give out money or candy, while others offer actual baked goods.

3. HALLOWEEN APPLES // WESTERN CANADA

Kids trick-or-treating.
iStock

If they're not calling out "trick-or-treat" on their neighbors’ doorsteps on Halloween night, you may hear children in western Canada saying "Halloween apples!" The phrase is left over from a time when apples were a common Halloween treat and giving out loose items on the holiday wasn't considered taboo.

4. ST. MARTIN'S DAY // THE NETHERLANDS

The Dutch wait several days after Halloween to do their own take on trick-or-treating. On the night of November 11, St. Martin's Day, children in the Netherlands take to the streets with their homemade lanterns in hand. These lanterns were traditionally carved from beets or turnips, but today they’re most commonly made from paper. And the kids who partake don’t get away with shouting a few words at each home they visit—they’re expected to sing songs to receive their sugary rewards.

5. A PENNY FOR THE GUY // THE UK

Guy Fawkes Night celebration.

Peter Trimming, Wikimedia Commons // CC BY-SA 2.0

Guy Fawkes Night is seen by some as the English Protestants’ answer to the Catholic holidays associated with Halloween, so it makes sense that it has its own spin on trick-or-treating. November 5 marks the day of Guy Fawkes’s failed assassination attempt on King James as part of the Gunpowder Plot. To celebrate the occasion, children will tour the neighborhood asking for "a penny for the guy." Sometimes they’ll carry pictures of the would-be-assassin which are burned in the bonfires lit later at night.

6. TRICKS FOR TREATS // ST. LOUIS, MISSOURI

Kids knocking on a door in costume.
iStock

If kids in the St. Louis area hope to go home with a full bag of candy on Halloween, they must be willing to tickle some funny bones. Saying "tricks-for-treats" followed by a joke replaces the classic trick-or-treat mantra in this Midwestern city. There’s no criteria for the quality or the subject of the joke, but spooky material (What’s a skeleton’s favorite instrument? The trombone!) earns brownie points.

7. ME DA PARA MI CALAVERITA // MEXICO

Sugar skulls with decoration.
iStock

While Dia de los Muertos, or Day of the Dead, is completely separate from Halloween, the two holidays share a few things in common. Mexicans celebrate the day by dressing up, eating sweet treats, and in some parts of the country, going house-to-house. Children knocking on doors will say "me da para mi calaverita" or "give me money for my little skull," a reference to the decorated sugar skulls sold in markets at this time of year.

8. HALLOWEEN! // QUEBEC, CANADA

Kids dressed up for Halloween.
iStock

Trick-or-treaters like to keep things simple in the Canadian province of Quebec. In place of the alliterative exclamation, they shout “Halloween!” at each home they visit. Adults local to the area might remember saying "la charité s’il-vous-plaît "(French for “charity, please”) when going door-to-door on Halloween, but this saying has largely fallen out of fashion.

9. SWEET OR SOUR // GERMANY

Little girl trick-or-treating.
iStock

Halloween is only just beginning to gain popularity in Germany. Where it is celebrated, the holiday looks a lot like it does in America, but Germans have managed to inject some local character into their version of trick-or-treat. In exchange for candy, kids sometimes sing out "süß oder saures"—or "sweet and sour" in English.

10. TRIQUI, TRIQUI HALLOWEEN // COLOMBIA

Kids dressed up for Halloween.
Rubí Flórez, Flickr // CC BY-NC-ND 2.0

Kids in Colombia anticipate dressing up and prowling the streets on Halloween just as much as kids do in the States. There are a few significant variations on the annual tradition: Instead of visiting private residencies, they're more likely to ask for candy from store owners and the security guards of apartment buildings. And instead of saying trick-or-treat, they recite this Spanish rhyme:

Triqui triqui Halloween
Quiero dulces para mí
Si no hay dulces para mí
Se le crece la naríz

In short, it means that if the grownups don't give the kids the candy they're asking for, their noses will grow. Tricky, tricky indeed

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11 Thrilling Facts About Dial M for Murder
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In 1953 Alfred Hitchcock was looking for a new project after a film he’d been developing fell through. Sensing a need to go back to his safe space of murderous thrillers, he opted to adapt a stage play that had already proved to be a hit on British television. Though he had no particular attachment to the project, Dial M for Murder would ultimately become one of Hitchcock’s best-known—and best-loved—classics.

From the film’s use of 3D to the debut of Grace Kelly in Hitchcock’s filmography to a pivotal murder sequence that made the director lose weight from stress, here are 11 facts about Dial M for Murder.

1. IT’S BASED ON A STAGE PLAY.

Dial M for Murder is, in terms of locations and number of characters, a relatively sparse film that barely leaves its primary set. This is because it was based on a stage play by Frederick Knott, which premiered as a BBC TV special in 1952 and later opened at London’s Westminster Theater and, eventually, Broadway. After seeing the BBC production, producer Sir Alexander Korda purchased the rights to make the film version, and later sold them to Warner Bros. for $75,000.

2. ALFRED HITCHCOCK THOUGHT HE WAS “COASTING” WHEN HE MADE THE FILM.

By 1953, when Dial M for Murder arrived at Warner Bros., Hitchcock was developing a project called The Bramble Bush, the story of a man who steals another man’s passport, only to find out that the original owner is wanted for murder. Hitchcock wrestled with the story for a while, but was never satisfied with it. When Dial M for Murder landed at the studio, Hitchcock knew the play had been a hit, and opted to direct it. As he later told fellow director François Truffaut, he found the film to be “coasting, playing it safe,” as he was already known as a thriller filmmaker.

3. IT’S HITCHCOCK’S ONLY 3D FILM.

In the early 1950s, the 3D movie craze was raging, and Warner Bros. was eager to pair it with the fame of Hitchcock. So, the director was ordered to use the process on Dial M for Murder. This meant Hitchcock had to work with the giant cameras necessary for the process, but there was also a trade-off that makes the film fascinating—even in 2D. In order to make the film look appropriately interesting in 3D, Hitchcock added a pit into the floor of the set, so the camera could move at lower angles and captures objects like lamps in the foreground. As a result, the film looks like no other Hitchcock ever shot, particularly for the infamous scissors murder that’s the film's thrilling centerpiece. Unfortunately, by the time Dial M for Murder was released in 1954, the 3D fad was dying out, so the film was shown in 2D at most screenings.

4. IT WAS HITCHCOCK’S FIRST FILM WITH GRACE KELLY.

Of all of the iconic blonde stars Hitchcock cast in his films, the most famous is almost undoubtedly Grace Kelly, the actress-turned-princess who first joined him for this film. Hitchcock once described Kelly as a "rare thing in movies ... fit for any leading-lady part,” and it was said he had the easiest working relationship with her of any star. They worked so well together that they went on to make two more films, Rear Window in 1954 and To Catch a Thief in 1955.

5. IT TAKES PLACE ALMOST ENTIRELY INDOORS.

Because Dial M for Murder is based on a stage play, the original script had very little in the way of outdoor set pieces. Hitchcock wanted to keep it that way, as he later explained to Truffaut:

“I’ve got a theory on the way they make pictures based on stage plays; they did it with silent pictures, too. Many filmmakers would take a stage play and say, ‘I’m going to make this into a film.’ Then they would begin to ‘open it up.’ In other words, on the stage it was all confined to one set, and the idea was to do something that would take it away from the confined stage setting.”

Hitchcock wanted to keep the confinement intact, so almost all of the action in the film takes place indoors, largely in the Wendices' apartment. This adds to the intimacy and tension.

6. HITCHCOCK PERSONALLY CHOSE EVERY PROP.

Hitchcock was always known as a meticulous director obsessed with detail, but on Dial M for Murder he was particularly detail-oriented, in part because the 3D cameras were going to capture objects in a way his other films hadn’t. As a result, he selected all of the objects in the Wendice apartment himself, and even had a giant false telephone dial made for the famous “M” close-up in the title sequence.

7. KELLY’S WARDROBE GROWS DARKER ON PURPOSE.

Grace Kelly in 'Dial M for Murder' (1954)
Warner Home Video

Hitchcock’s exacting eye also led to an elaborate “color experiment” to portray the psychological condition of Kelly’s character. As the film begins, the colors she wears are all very bright, suggesting a happy life in which she doesn’t suspect anything is wrong. As the film grows darker for her, to the point that she’s framed for murder, the wardrobe grows darker and “more somber,” as Hitchcock put it.

8. KELLY WON A PARTICULAR WARDROBE ARGUMENT.

For the scene in which Swann (Anthony Dawson) attempts to murder Margot (Kelly) by strangling her (until she manages to stab him with a pair of scissors), Hitchcock had another exacting wardrobe request. He had an elegant velvet robe made for Kelly, hoping to create interesting textural effects as the lights and shadows played off the fabric while she fought for her life. Kelly reasoned that, since Margot was alone in the apartment (as far as she knew) and was only getting out of bed to answer the phone, she wouldn’t bother to put on a robe.

“I said I wouldn't put on anything at all, that I'd just get up and go to the phone in my nightgown. And [Hitchcock] admitted that was better, and that's the way it was done,” Kelly later recalled.

9. HITCHCOCK WAS SO NERVOUS ABOUT THE PIVOTAL SCENE THAT HE LOST WEIGHT.

Dial M for Murder was shot in just 36 days, but the director took special care with one scene in particular: the murder sequence in which Margot stabs Swann with the scissors. Not only was it a key scene in the film, but it was also a moment that required particular care to make the 3D effects work. Hitchcock agonized over the scene to such a degree that he apparently lost 20 pounds during filming.

"This is nicely done but there wasn't enough gleam to the scissors, and a murder without gleaming scissors is like asparagus without the hollandaise sauce—tasteless,” he reportedly said after one take.

10. HITCHCOCK MAKES HIS CAMEO IN A PHOTOGRAPH.

Hitchcock became known throughout his career for making cameos in his films, ranging from the very subtle (you can see his silhouette in neon outside the window in Rope) to the more elaborate (missing the bus in the opening sequence of North by Northwest). In Dial M for Murder, his cameo falls somewhere in between. He appears in a class reunion photo in the Wendice apartment, seated at a banquet table among other men.

11. IT’S BEEN REMADE FOUR TIMES.

Michael Douglas and Gwyneth Paltrow in 'A Perfect Murder' (1998)
Warner Bros.

Dial M for Murder was a film adaptation of a stage play that had also already been adapted for television in Britain, and it proved popular enough that four more adaptations followed. In 1958, NBC broadcast a Hallmark Hall of Fame production, in which both Anthony Dawson and John Williams returned to play Swann and Chief Inspector Hubbard, respectively. A 1967 ABC television production of the play co-starred Laurence Harvey and Diane Cilento. A television movie starring Angie Dickinson and Christopher Plummer was produced in 1981, and in 1998 the play served as the inspiration for the film A Perfect Murder, starring Michael Douglas and Gwyneth Paltrow.

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