"First, speaking for myself, I don't want to ever be in a position where I'm telling other directors how to make movies, because I don't think it's any of my business"
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There is a bracing humility in Frankenheimer's refusal to play traffic cop for other filmmakers, but it also reads like a hardened survival tactic from someone who spent decades inside collaborative, ego-heavy systems. The line starts with a legalistic throat-clearer - "First, speaking for myself" - as if he's already hearing the objections. That framing matters: he's not issuing a manifesto about art; he's drawing a boundary, staking out a personal ethic in a profession that constantly invites people to become pundits, judges, or brand managers.
The subtext is a quiet rebuke to the director-as-guru economy. Frankenheimer came up when directors were craftsmen and combatants, not TED speakers. On sets where time, money, unions, stars, and studios all pull in different directions, telling someone else how to make a movie isn't just presumptuous - it's naive. Advice becomes performance. It signals power, not solidarity.
His phrasing, "any of my business", is pointedly unromantic. He doesn't dress it up as artistic relativism; he treats it like basic etiquette. That choice implies a belief that directing is inseparable from circumstance: the same script in two hands becomes two different compromises, two different moral calculations. So the refusal to instruct isn't indifference; it's respect for the mess. In an industry that rewards certainty, Frankenheimer defends a rarer posture: discretion, and the humility to admit that craft isn't transferable as commandment.
The subtext is a quiet rebuke to the director-as-guru economy. Frankenheimer came up when directors were craftsmen and combatants, not TED speakers. On sets where time, money, unions, stars, and studios all pull in different directions, telling someone else how to make a movie isn't just presumptuous - it's naive. Advice becomes performance. It signals power, not solidarity.
His phrasing, "any of my business", is pointedly unromantic. He doesn't dress it up as artistic relativism; he treats it like basic etiquette. That choice implies a belief that directing is inseparable from circumstance: the same script in two hands becomes two different compromises, two different moral calculations. So the refusal to instruct isn't indifference; it's respect for the mess. In an industry that rewards certainty, Frankenheimer defends a rarer posture: discretion, and the humility to admit that craft isn't transferable as commandment.
Quote Details
| Topic | Respect |
|---|---|
| Source | Help us find the source |
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