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.
Art depends on luck and talent.
Anything you build on a large scale or with intense passion invites chaos.
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.
Usually, the stuff that's your best idea or work is going to be attacked the most.
You're in a profession in which absolutely everybody is telling you their opinion, which is different. That's one of the reasons George Lucas never directed again.
You ought to love what you're doing because, especially in a movie, over time you really will start to hate it.
You have to really be courageous about your instincts and your ideas. Otherwise you'll just knuckle under, and things that might have been memorable will be lost.
When I was going for my graduate degree, I decided I was going to make a feature film as my thesis. That's what I was famous for-that I had my thesis film be a feature film, which was 'You're a Big Boy Now.'
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.
When I do a novel, I don't really use the script, I use the book; when I did Apocalypse Now, I used Heart of Darkness. Novels usually have so much rich material.
I remember teachers who really singled me out for their discouragement.
We had access to too much money, too much equipment, and little by little, we went insane.
In kindergarten that used to be my job, to tell them fairytales. I liked Hans Christian Andersen, and the Grimm fairy tales, all the classic fairy tales.
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.