(edward dmytryk) howard hawks had the greatest technique.f a producer came on the set, he would say to the prop man, "hey, come on, bring a chair over here." and he'd say to the producer, "come on, sit down, let's chat." and everybody else would go off the set. and the producer would talk and in about 5 or 10 minutes, he'd realize that nobody was working. and he would also realize that nobody would be working until he left. so sooner or later, he'd get up and go. there were any number of people that we can go back to, kind of von stroheim and work our way up and we can run out that litany of filmmakers who were done in by the constraints of this dehumanizing, highly industrialized, profit-motivated system. but, the more i look at it, the more i see the system as... as enabling as it was constraining. i mean, whoever supplies the money is the enemy. the studio's no different. there's always that tension. listen, on "the godfather," i'd go up to francis coppola and i'd say, "you know this picture, bob evans and i have been discussing it and we