Oliver Stone Quotes - Page 3

Crom, I have never prayed to you before. I have no tongue for it. No one, not even you, will remember if we were good men or bad. Why we fought, and why we died. All that matters is that today, two stood against many. Valour pleases you, so grant me this one request. Grant me revenge! And if you do not listen, the HELL with you!

I have the right to interpretation as a dramatist. I research. It's my responsibility to find the research. It's my responsibility to digest it and do the best that I can with it. But at a certain point that responsibility will become an interpretation.

Concepts of integrity and heroism and honor are still important to the world today. Some people behave well, and some people behave badly.

My protest against digital has been me saying, "What's going to happen to film?" The result is that Kodak is out of business. That's a national tragedy. We've got to keep making film.

Anyone can relate to suffering in this world.

I'm interested, I suppose, in tortured power.

We have enormous challenges in front of us.

You can never judge how the film will be taken; you can only make your best effort, and put out what you feel. How it's read, you never can tell. Or remembered for that matter.

I may have disparaged the idea that people are looking at films on smaller and smaller screens... it's a shame that people have to watch DVDs with the lights on in a television-type situation where people are wandering in and out of the room. Movies are different from television, and you cannot watch movies like television. It distorts it.

I make my films like you're going to die if you miss the next minute. You better not go get popcorn.

I'm trying to understand my life. The one that I've experienced.

I think you can maintain two tracks. I think you have to. That's what this kind of filmmaking is about. If you're not aware of the limitations of what you're up against... it's like a general: you have to know your artillery and you have to know your infantry. You have to know what you have. You have to marshal your forces and use them well. It comes down to the personal and the intimate, but at the same time you have to have the big picture.

I can't tell you how many times at the breakfast table my dad would curse out Franklin Roosevelt. I love my father. He was an intelligent man, but he really didn't like regulations of the Roosevelt style, or the taxes. He was an Dwight Eisenhower man. And that's what Eisenhower did, committed to breaking down the program.

Very few people know that there is a whole school of historians that have existed in the United States from the 1940s and the early '50s that were revisionists. They were attacking the whole basis of the history of the Cold War. People like D.F. Fleming, William Appleman Williams.

When I'm working with another writer, I tend to make a lot of effort. When I collaborate with a writer, I'm not interested in credit, but I'm feeding him stuff all the time that I feel is important to shaping the script.

Gore Vidal said "Nixon is us, we are Nixon." I think we have to acknowledge that combination of idealism and sleaze; we want to be better than we are, and we sometimes don't face up to the real questions.

Every day that you get up, it's some kind of victory if you're making a good product, or working on a project that can only help mankind. We pray for no destruction, and for the forces of destruction not to take over. We're all divided, but some of us have children, and we are invested in the future and would like to see good things happen.

I think any filmmaker will tell you when they wandered from theater to theater to watch their prints, it was disheartening to see the poor levels of light and the disrespect for films that existed in certain theater chains. It was always inconsistent. And in the lab, too, the photochemical process was very difficult to watch, because sometimes they were shipping prints that you didn't even know were two points off or three points off. We suffered greatly to make these films, and they'd be out-of-focus, with the sound too low.

One of my fantasies in my life has been that I was granted access with a camera to go back in time, and to film the actual campaign of Alexander crossing into India through Iran and Persia.

My schooling was very conservative. I went to Trinity School, and then to the Hill School, which is a boarding school, then to Yale. My parents got divorced in that period, and I realized I didn't have a life anymore. I was the only child, so a three-person family breaks apart. I ended up very conformist, very scared, very lonely. I couldn't go on with Yale, just couldn't do it. I'd been doing too much of that for too long. I didn't know what I wanted, but I knew what I didn't want, which was to go to Wall Street and join the crowd there.

You've also heard stories about how the military-industrial complex really does prefer Hilary Clinton because they know that she's not nuts like some of the Republicans. She will do what they bid. And what they want is basically to stay healthy.

There was a certain faction in America that had always been pro-Nazi, including the Allen Dulles people. These were businessmen, Wall Street men.

In any film there's always a historical implication.

There's an electrical thing about movies.

I like automatic weapons. I fought for my right to use them in Vietnam.