In any film there's always a historical implication.

I do believe there are leaders who are like lightning and they come along and they lead. The Lincolns of the world, the Alexander the Greats, they do exist. They have existed.

I've met people who will go to a movie that I can't stand and they say that they saw that movie ten times. There's something they like and identified in that movie, and I don't see it.

Fear may very well be a caveman fear of the predator, of the giant lizard chasing them - maybe that's what Steven Spielberg connects with so well in Lost World.

Anybody who's been through a divorce will tell you that at one point. they've thought murder. The line between thinking murder and doing murder isn't that major.

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.

There's an electrical thing about movies.

I never put out a history, I put out a dramatic history.

When I was a child, I'd see a movie, I took it for what it was, I enjoyed it. And if I believed it I would tend to be more interested in knowing more about it.

Never underestimate the power of jealousy and the power of envy to destroy. Never underestimate that.

In any film there's always a historical implication.

But in answer to your question about the conspiracy angle, I think that any historian worth his salt, and this is where I fault Stephen Ambrose and a lot of these guys who attack me - not all of life is a result of conspiracy by any means! Accident occurs alongside conspiracy.

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.

But I suppose film is distinctive because of its nature, of its being able to cut through time with editing.

Well first of all you have to make the character strong so that people can follow that. And then hopefully that character can integrate with the background of the social situation that people can recognize.

I've been to war, and it's not easy to kill. It's bloody and messy and totally horrifying, and the consequences are serious.

I do believe that movies are subject to a million interpretations.

I am not trying to be a historian and a dramatist; I'm a dramatist, a dramatic historian, or one who does a dramatic interpretation of history.

I'd love to do historical pictures more, but I don't know if I can.

When you look at a movie, you look at a director's thought process.

If anything, if you can get somebody interested in something and get them excited, that's great. You should be praised for having opened the debate and having asked the right questions.

I'm terrible at horror movies, by the way. I get scared so easily.

You're not a historian, but most historians will tell you that they make very discrete judgment as to what facts to omit in order to make their book into some shape, some length that can be managed.

I would vote for the man who's lived life, who's done different occupations, who's been out in the real world and struggled to make a living, struggled to raise a family, struggled with life as it exists. So I'd vote for experience, honest experience.

I will come out with my interpretation. If I'm wrong, fine. It will become part of the debris of history, part of the give and take.

It's interesting that when economic times were the hardest, that's when many people embraced liberalism.

A woman can be very beautiful and an ideal model and she will photograph incredibly well, but she'll appear in film and it won't work. What works is some fusion of physical beauty with some mental field or whatever you call it. I don't know.

You do the best job you can. You take it step by step. It's hard enough to make a movie. If it works, that's great. If it means something beyond the moment to somebody, they can take it and it lasts through the years, we'll see.

One of the joys of going to the movies was that it was trashy, and we should never lose that.

Lunch is for wimps.

I study history in order to give an interpretation.

I'd like to do a story about the medieval ages where in every scene you'd sort of feel that you were in the 12th century. That would be great to get that feeling.

I think experience will teach you a combination of liberalism and conservatism. We have to be progressive and at the same time we have to retain values. We have to hold onto the past as we explore the future.

I think that many people in history who had power were bumped off because they had power.

Coming Home had been made before and Apocalypse Now and Deer Hunter, different kinds of movies.

This myth that America has this atomic bomb that makes us right, it makes us good, it makes us set the agenda for the world. Everywhere, we can go global, we determine.

Football is mesmerizing because its a figurative war. You go in one direction till you get there but you get there as a team not as an individual. Players bond whether theyre black or white much as soldiers do.

We all have idealism. We think we're healthy and then, all of a sudden, one day, you have cancer. The truth has a mind of its own.

The worst nightmare I ever had about Vietnam was that I had to go back. I woke up in a sweat, in total terror.

Hell is the impossibility of reason.

My best film composing experience was with Elia Kazan.

I was lucky enough to occasionally break out of that racist situation that prevails in the Hollywood film production community. But it was racist then and it will always be that way. It will never be otherwise.

'Batman' took 10 months to film, and by the time I stopped working on it, it took a long time before my English accent came out again. I was actually having to try for it.

Luck is everything... My good luck in life was to be a really frightened person. I'm fortunate to be a coward, to have a low threshold of fear, because a hero couldn't make a good suspense film.

I still feel that a movie has to attempt to say something - even if it fails miserably. But I've sort of given up on believing that I'm going to change the world with every film I choose to act in.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

To make a documentary is one thing, to make a feature film is quite another.

I mean when the play was on in New York I was starting to get film offers coming through, and since the film's come out I get offered more than I used to, but it happens incrementally.

I think it would be very boring dramatically to have a film where everybody was a lawyer or doctor and had no faults. To me, the most important thing is to be truthful.