Zitat des Tages von Michael Cimino:
I don't believe in defeat.
If you don't get it right, what's the point?
I wouldn't look pretty as a woman.
I am not a preacher; I'm a reacher.
It's one of the things that movies do offer you, despite all of their hardships - they offer you moments of transcendence.
I don't dispute the accounts of My Lai 4, but I think that anyone who is a student of the war, or anyone who was there, would agree that anything you could imagine happening probably happened.
Family politics are worse than world politics. That's all I can say. You don't get to choose your family; you get to choose your friends. Your family is imposed upon you.
There's no service ribbon for people who fought in Korea. We lost over 30,000 men between 1951 and 1953 - as many as we lost in 15 years in Vietnam.
I love to scout locations.
Hollywood has always been crazy. It's controlled anarchy. But how can you loathe something that has given you so much?
A film reflects who you are as a building reflects the soul of its architect. I think what you feel and what you think and what you are is what the film is. It's not for me to talk about.
When I was fifteen, I spent three weeks driving all over Brooklyn with a guy who was following his girlfriend.
What we forget is that the Academy is a star-maker, or it reinforces the stardom of people.
I don't make movies to make a point; I make movies to tell stories about people.
If you can't stop somebody from working and making movies that you hate, what's the next best thing? Destroy them personally.
You couldn't make 'Heaven's Gate' today. Even were you to quadruple the resources to make the movie, you couldn't make it because the people don't exist.
Working-class, blue-collar guys who volunteered for Vietnam were ascribed certain political beliefs. It's time that this was redressed. It had nothing to do with politics. Once these men got to Vietnam, it was a matter of survival.
Nobody lives without making mistakes.
What distinguishes Vilmos Zsigmond from other cinematographers is, of course, talent but, more, physical stamina. You just can't be great without it.
I've published a couple of short novels in France that I didn't want to publish in English because I loved the characters too much to subject them to American critics who were not exactly favorable toward my work.
On a movie, you often work fourteen-, sixteen-hour days, six days a week, for six months. It is so easy to let up because of fatigue.
Writing, by nature, is a fairly solitary occupation.
Because people don't see me around a lot, I'm the source of all sorts of rumour.
There is always that need to feel that you're doing your possible best.
There's a need to dig up the past and analyze it.
War is war. Vietnam is no different from the Crusades.
Encountering a real place enhances the performances of actors in subtle ways and changes the spiritual texture of the film.
I've got a room full of scripts. They go to the ceiling. I can't even hardly walk into it anymore. Most are original, and there are some adaptations like 'Man's Fate.'
I've had enough rejection for 33 years. I don't need more.
I was a child prodigy. Like Michelangelo, who could draw a perfect circle at age five. I was extremely gifted. I could paint a perfect portrait of someone at age five.
When the rich kids got together, the most we ever did was cross against a red light.
There have been so many false things written about me by people who don't know me.
'Leaving Las Vegas' is a relationship; 'Dead Man Walking' is a relationship, and they're very contained movies. They're compressed and not in wide open spaces all over the place.
I felt the need to unlearn my formal education.
Most people I knew had been crippled by their educations. Some were even dying spiritually.
Does anyone remember who shot Kubrick's movies? Do you remember who shot David Lean's movies? No one remembers who shot 'Dr. Strangelove' or 'Barry Lyndon.'