Judentum

"The question of being Jewish has never really been much of a problem with me, possibly because most of my enemies are Jewish. In addition, I was not brought up as a Jew, although my background couldn't be more Jewish. My grandfather on my mother's side was a rabbi and, as far as I know, all my male ancestors on my mother's side were rabbis. My father's great-grandfather was the best known Rove (high priest) in Europe in his time. My father was an agnostic, though my mother was Jewish by faith and belief, but not Orthodox. I didn't believe in the Jewish religion. However, when I took my preliminary exams, I had two subject choices: English history or the New Testament. The English boys had too much of an edge on me in the former subject, so I took and passed the test on the New Testament. I promptly became an atheist, which I still am. I respect the beliefs of others, but I don't understand them."

Kaminsky, S.18

Insert Department

"We shot newspapers, close-ups of guns or railroad signs, anything a director wanted. It as extraordinary. There I was in my mid-20s eith a whole camera crew at my disposal. I had an operator, an assistant, a grip, everything. I became interested, eager to shoot film. Rapidly, I convinced directors that inserts were anything they were too lazy to shoot. I would say: 'Look, how many ways can Bette Davis walk up those stairs. Let me shoot it.' I was soon shooting a tremendous amount of film."
 

Stock Shots

"Lee (sein Chef): See that car approaching in the distance? Now that's a stock shot. (...) That car could be used in a new picture and nobody would be the wiser. (...) What we're looking for are long shots of cities or countrysides, inside machine shops or factories, with no one identifiable, and no signs. Stock shots save the studio a ton of money..." (Siegel Film 37)

Editing

"The job of an editor is to get the best out of the film that the director has given him to edit. he must understand the story. he must understand what the director wants his picture to say. he must know what is entertaining and what is not. it is not a mechanical job of cutting. On the contary, the editor must edit the film so that the finished film is much better than the director's dailies indicated." (Siegel Film 43)

Montage

"Byron Haskin: When you read a script, and you read them all, whenever a montage is called for - like a ten-year lapse of time, a boy and a girl falling in love,a  train wreck, etc. - rewrite it and shoot it. Nobody will know what you're doing except yourself and maybe me.
Slavko Vorkapitch: Montage literally means the placing of one picture on to another. Eisenstein used it as a form of editing: taut, precise, sometimes a matter of frames. Generally, it gets over a lapse of time. But when one considers that montage is the single section of film that gives the audience credit for creative intelligence, the importance of montage transcends the mundane film as a whole. The use of symbolism stirs the imagination of the viewer. One can show the invisible or intagible by means of visible impressions. The whole film can be made more vivid and given more pace by the proper use of montage technique." (Siegel Film 56)(vgl. Confessions of a Nazi Spy, Roaring Twenties, Meet John Doe)