Unlike modern films where superstars dominate every scene, the Hollywood films of the golden era have depth in writing and casting, so the story can resonate with more than one tone.

The stigma of women in comics and it not being a thing has largely become a factually debunked myth and I daresay we're almost entering a golden age

We are living in the golden age of art, and it’s only going to get better.

But we are desensitized by familiarity and overwhelmed by choice.

So there's no question about it: by the mid-fifties, America was definitely in a Golden Era, an era of excitement and opportunity for all citizens, regardless of race or creed or color, unless the person happened to be black. Then there was a problem.

Where children are, there is a golden age.

On the changing face of Indian cinema "At one time I wondered if I was doing the right films, today I know I have made the right choices. Indian cinema is changing, not step by step but by leaps. New blood is coming in, mindsets are changing and our exposure to the world is ever-increasing. I am glad these positive changes are happening when I am in the industry and not ten years from now.

Right now no matter your age these are your golden years. The good stuff will yield golden memories and the bad stuff will yield golden lessons.

Today is truly the Golden Age: gold buys hornor, gold procures love

Old age isn't for sissies, and neither is this film. … This is now. We are filled with optimism and expectation. Why would we want to see such a film, however brilliantly it has been made? I think it's because a film like Amour has a lesson for us that only the cinema can teach: the cinema, with its heedless ability to leap across time and transcend lives and dramatize what it means to be a member of humankind's eternal audience.

Movies were much better in the days when I was doing them.

Maybe it’s because I’m older now, but there was something about the Seventies and Eighties. It was ‘the magic of the movies’. You would go to the cinema and have this magical, transportive experience, all because of the amount of love in the movies themselves. Particularly with those Indiana Jones movies, and almost everything Spielberg did, you could feel the passion behind the stories. Blockbusters nowadays have gotten a little corporate. A little jaded and cynical with their audiences. That amateur feel – for creating a magical experience – that’s something I want to see in my art.

I have copies of most of the films I did, people have been sending those to me, but I don’t want to look at yesterday. I’m looking at tomorrow, although I’m very glad that yesterday was there. That philosophy works for me. I have a gift of contentment. I am blessed to have the opportunities that I’ve had. My golden years were platinum years.

It's nice to think about the Golden Age of Hollywood, with the big studios and their fabulous music departments and the hundreds of films coming out every year. But it's gone. In some ways the composer today is more fortunate, provided he can find a good film, because he can attempt more than he could two decades ago. Twelve-tone music was unheard of during Max Steiner's heyday, as were any other avant-garde techniques. Finally, the future of film music rests with the composers themselves. If they take their work seriously and turn out the best that is within them, then perhaps we can persuade not only the public, but the filmmakers that good music is valuable in films. The public is not stupid. If our music survives, which I have no doubt it will, then it will be because it is good.

Yes. Women characters are once again assuming significance in films. Karan Johar, Sanjay Bhansali and Yash uncle conceive wonderful women characters. In the ’50s and ’60s, Bimal Roy and Guru Duttji wrote beautiful roles for heroines. You couldn’t take your eyes off a close-up of Waheedaji, Nargisji, Nutanji or Meenaji. Times are changing again. The Bhansali-shot close-ups of Ash and Madhuri in Devdas were awesome.