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.

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

There is this thing about time that you can't see at the time you're at.

There is nothing inherently wrong with greed as a human motivator - greed motivating evolution. But there's a huge disconnect between the classes. It is very demoralizing to work for someone who makes a billion dollars a year while you make just barely enough to make it.

Сyber-warfare is obviously the future. It's a real concern, but we lie so much about what we do that it's hard to know what's going on unless you really follow it.

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 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.