I've changed my style constantly, so I'm not sure I have one defined style, except perhaps style of subject matter. But you learn as you go, I suppose.

[When making movies I] set out to be authentic to [myself] and to put it down the way [I] feel it and know it and interpret it. And then others sometimes key into it and get it.

I look at Homer and The Odyssey and all the disparate adventures this guy goes through, and then he returns home and the question is, is he the same man who left?

I have skipped from style to style from film to film, and I love doing that because it's given me the ability to free myself from the past. Perhaps one of the worst feelings that I can have is the feeling that I'm locked in, like a prisoner of myself, which is something we all feel at some point in our lives. So part of making those stylistic jumps is just to free myself up-to get away from the old or the old Oliver Stone.

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.

From '45, the moment Franklin Roosevelt dies, we're running ratlines with the Germans, helping Nazis escape.

When I make a new movie, I always get stuck with, "That's not an Oliver Stone film." But I don't know what to do about that except just move on.