Art depends on luck and talent.
Anything you build on a large scale or with intense passion invites chaos
We want you to take from us. We want you, at first, to steal from us, because you can't steal. You will take what we give you and you will put it in your own voice and that's how you will find your voice.
We teach our boys to firebomb villages, but we won't let them write fuck on the side of their planes because it's obscene.
I think cinema, movies, and magic have always been closely associated. The very earliest people who made film were magicians.
Roger Corman exploited all of the young people who worked for him, but he really gave you responsibility and opportunity. So it was kind of a fair deal.
The essence of cinema is editing. It's the combination of what can be extraordinary images of people during emotional moments, or images in a general sense, put together in a kind of alchemy.
When I was about 9, I had polio, and people were very frightened for their children, so you tended to be isolated. I was paralyzed for a while, so I watched television.
We had access to too much money, too much equipment, and little by little, we went insane.
George Lucas doesn't have the most physical stamina. He was so unhappy making Star Wars that he just vowed he'd never do it again.
Listen, if there's one sure-fire rule that I have learned in this business, it's that I don't know anything about human nature.
I remember growing up with television, from the time it was just a test pattern, with maybe a little bit of programming once in a while.
You ought to love what you're doing because, especially in a movie, over time you really will start to hate it.
I had a number of very strong personalities in my family. My father was a concert flutist, the solo flute for Toscanini.
They needed someone to write a script of The Great Gatsby very quickly for the movie they were making. I took this job so I'd be sure to have some dough to support my family.
I had a heartbreaking experience when I was 9. I always wanted to be a guard. The most wonderful girl in the world was a guard. When I got polio and then went back to school, they made me a guard. A teacher took away my guard button.
It's ironic that at age 32, at probably the greatest moment of my career, with The Godfather having such an enormous success, I wasn't even aware of it, because I was somewhere else under the deadline again.
Frank Capra was a prop man, I think. John Ford was a prop man. It was a little bit of a father and son thing, and you kind of worked your way up.
I landed a job with Roger Corman. The job was to write the English dialogue for a Russian science fiction picture. I didn't speak any Russian. He didn't care whether I could understand what they were saying; he wanted me to make up dialogue.
My film is not a movie; it's not about Vietnam. It is Vietnam.
I had an older brother who was very interested in literature, so I had an early exposure to literature, and and theater. My father sometimes would work in musical comedies.
I liked to work in a shop down in the basement and invent things and build gadgets.
The stuff that I got in trouble for, the casting for The Godfather or the flag scene in Patton, was the stuff that was remembered, and was considered the good work.
Usually, the stuff that's your best idea or work is going to be attacked the most.
We were raised in an Italian-American household, although we didn't speak Italian in the house. We were very proud of being Italian, and had Italian music, ate Italian food.