Whit Stillman quotes:

Mary McCarthy and that Mr. Intellectual kind of guy ... Dwight McDonald? And they were really mean about [Jerome David] Salinger, and oh they were going to destroy him, and just look how thoroughly they destroyed him! No one reads Salinger anymore!

[ Lady Susan novel by Jane Austen is] extremely difficult to adapt. I worked on it for years, for, like, ten years, before I started showing it to people. This was my back-burner project.

[Jerome David] Salinger was really taken to the cleaners by nasty critics in his day. I think Joan Didion was one of the people who attacked him in a very unfair way.

I think a lot of ["Cosmopolitans"] is marked by [Jerome David] Salinger. Salinger wouldn't allow his works to be adapted for film after his experience with "Uncle Wiggly in Connecticut," and I think that's great for us because then we have to do our own Salinger stories.

I think Austin is read more now than Charles Dickens, and Dickens was much more popular in his day. She endures because of her classicism.

I originally wanted to be F. Scott Fitzgerald, but failed.

In my father's time - he was in college during many transitions in the late 1930s - they had great institutional loyalties... to his college, eventually the navy, the Democratic Party and certain ideals of our country. Those are the things that became broken with my generation.

It's terrible to write what are essentially comedies for people with no sense of humor. Everyone thinks they have a sense of humor, but observably not.

I think it's helpful to aspire to make films if you feel that other people are not doing what you want to do.

I think crazy people are helpful, crazy people who are the catalysts who make other things happen for everyone else. It's almost as if they're not really making things happen in their own life, but their hyperactivity is triggered for everyone else.

For me, the present is a golden era. That's the greatest golden era. Right now. I just like pining for lost times.

I decided the moment I graduated from college that I would never wear blue jeans again. And I have never worn blue jeans again.

Decline and Fall was a very depressing Evelyn Waugh novel, I think it was his first. I didn't get it at all, and then I got to love Waugh. And I think that maybe "Cosmopolitans" has a bit of an Evelyn Waugh vibe to it at some point.

Find someone hypersocial and crazy and try not to follow them to their doom, but to make friends with their nicer friends.

I love watching the romantic comedies of the late '50s and early '60s. I used to have a rule that if Tony Randall's in it, it can't be bad.

I've had no money, absolutely, from my family. They paid for a good education - or schools that purported to be a good education - but, um, not a dime.

I call the '70s the "golden age of television"; in the early '70s there were sensationally good shows.

I explained to Amazon that I don't like outlining or projecting what something's going to be. I like to allow a story to arise as I'm writing scripts. I find it horrible when I try to think of something for the plot without really being on the ground and seeing where it goes. I was really resistant to do the mini-bible. So I gave them something, but I really didn't want to do it that way.

I find it really disturbing to be watching a lot of the medium that I'm trying to work in. I prefer to be doing things that are farther away.

I think it's really good and helpful to have the people you most admire in some other discipline than what you work in. It's too intimidating and derivative to be just totally gobsmacked by someone doing exactly the same thing as you are.

I would say on the other side of the equation that there were really some massive sales and massive enthusiasm for some films that were given big releases. And I'm not really sure that happens in quite the same way, small films getting big releases. Maybe it still does, I don't know.

I'm for people clinging. I'm pro-clinging.

It becomes a lot better for the actors when we're 'shooting, shooting, shooting,' instead of waiting around in a trailer for something to happen.

One of the problems of a director on the set is that we become overwhelmed by all the factors and threads of production, that sometimes we can't focus on our main job, which is steering the performances to create the whole film.

Our roots are clinging, we shouldn't knock down so many old 'buildings.'

So something I've felt I've learned with The Cosmopolitans shoot is using some agility and changing things quickly. That's something I found really useful on this shoot too. The gestation of The Cosmopolitans and this are slightly different from my other films. The script would be done and I'd be cutting it, but I wasn't always writing new material.

Sometimes you don't realize how dependent you are on just a few people, and if they disappear, suddenly you can be thrown on your own resources, which may be limited, and you're really in a fix. So I think that's authentic to the experience that it might be very lonely.

The Cha-Cha is no more ridiculous than life itself.

There's a big difference between having relatives who have money and actually having it yourself. Just because you have a cousin who has a lot of money doesn't mean he shares it with you. Or that you'd ask him for a loan.

There's some people who are just very dynamic about social life, and it can be some pretty crazy stuff, but you end up meeting people you like.

We learned some bad things, and the Vietnam War led to some bad conclusions. We're not the greatest generation, that's for sure.

You can't go by what the governments say or do. It's not the governments. It's on the street where there's more hatred of Americans in Britain than in France.