Quotes By Bill Condon

My idea of a beach holiday is going to New York for two weeks, just going and hanging out.

I wanted to make connections between Whale's past and present.

Problems emerge and some people try to sweep them under the rug.

I know a little more about Kinsey than I know about sex because that is his subject not mine.

But the imposition of morality onto science, - where it does not belong - has become rampant in recent years.

No, 'F/X 2' was a job. I enjoyed doing it but that was definitely a job. I wrote that, I didn't direct it but 'Candyman' and the earlier horror movies I made, I was completely into horror and suspense and always have been. It's informed everything I've done, even the way scenes are shot in 'Kinsey and 'Gods and Monsters.'

In Hollywood through the 50s, there were black, English, and Middle European housekeepers and maids.

One of the people that became a major source was Clarence Tripp who worked with Kinsey.

Our relationships, relationships between adults, how all those pieces fit together - that's the most complicated thing we all face.

When it comes to two of the big social earthquakes in the last fifty years - which are the gay movement and the women's movement - I think there is a direct line from Kinsey to those.

I think it would be fun to write about movies again.

It's an odd thing to go to New York to shoot a movie that is set in Indiana.

We knew that there was a certain kind of interest in Whale among a genre crowd.

A scientist is an unlikely character to put at the center of a movie.

I think that finding a way into somebody's life that's sort of off from a side angle can tell you more about that person than a greatest hits approach.

We made connections between the monsters created by war and the monsters he created, the typical outcast that Whale was attracted to, and the monster in himself, that's inside all of us.

I had a couple of movies that I was passionately involved with that I could never get made. 'Richard Pryor,' I wrote for - gosh - over a year. That was close to getting made for two-and-a-half years after that. We're still pushing it, you know. It is weird. Suddenly you wake up and it's like, 'God, five years have gone by.'

Kinsey would identify himself with Galileo in moments of feelings of persecution.

I do think that's so much a part of what being a director is - in working with actors - to really try and be sensitive to what each actor needs to get to where he wants to be.

It is interesting to be here and to see that for certain actors they have to live in a way that you think of nobody living anymore except for in small towns. They have such elaborate double lives.

I'm a horrible public speaker.

It's in the nature of television to restrain the spontaneity of a live event. Things become more and more prepackaged.

First of all, just knowing people who grew up in the movie business at that time, no one had Mexican maids.

But you really - I always think that a director has got to adapt to whatever the needs of the actor are. You know, so if you take someone like Eddie Murphy, who is not a big fan of rehearsal. You know he comes out of stand-up. He comes - it's all about capturing the moment - in the moment, you know.

From its inception by Michael Bennett, 'Dreamgirls' has always been an epic story with an ensemble cast. I didn't change that. The screen version remains, really, a group story.

Kinsey thought that Freud in his own way was as dangerous as the Catholic Church.

There were moments on the set when the depth of the cast of 'Dreamgirls' was almost overwhelming to me.

Actually, I loved Chucky. It's one of the strangest movies I've ever seen.

I really think the biopic thing so rarely works, because people's lives don't have a dramatic shape that can be satisfying.

Because his basic idea that he got from the study of gall wasps is that everyone's sexuality is unique.