I stopped at B Westerns. I thought that was a good life. I never wanted to be Hitchcock or some big mogul, I didn't want to be Louis B. Mayer. I wanted to be, I don't know what, Budd Boetticher or something.
Francis was always open. Francis was always aware of himself. Francis was always aware of the situation. Plus, I think Francis was far and away the best of the lot. He was the real thing.
That's what I mean... they're trying to dress like directors. They also wear those stupid binders around their neck, so that they say, "Hey, I'm the director! I've got the binder!" You know?
Well, you know, the King and Ann-Margaret, in Las Vegas – it's good. It makes you feel good.
Isn't it a great society that we live in? I'll bet you that most kids have never seen Red River.
(sobre George Lucas) No, all of his movies are very manipulative, but so are Steven's. One of the things about my generation that I never liked terribly is that the films are extremely manipulative. The films that I liked, the filmmakers I liked, were not particularly manipulative. I remember, as a matter of fact, it was in Apocalypse and that scene where Mr. Clean gets killed, and of course he's listening to a tape recorder with his brother on the tape recorder. It's just shameless! I felt bad for that. They wouldn't feel embarrassed about that.
I was sitting there and looking at my career, and I realized you look at what you didn't get to do and how you were stopped and stifled from doing something, more than you look at what you did for the most part. That's what makes everybody in Hollywood bitter, particularly me, because I consider that I was given a raw deal. I was like blacklisted, you know, and I should have made so many more films. But, you know, I look at it as an artist, and I look what you can achieve in a lifetime, and I look at somebody like Hemingway. He wrote a bunch of books, but there's only about four of them that are really considered classics, and a couple of short stories. I've had that much. I've had four or five films that are definitely considered classics – probably two or three of them will last forever.
Yeah, I would never have a website about myself. I find the attention given to movie directors entirely uncalled for and too much anyway.
I liked it better when nobody knew who the director was, you know? They just sort of went to the movie. I was vaguely, vaguely aware when I was growing up that there were certain movies I liked – it just turned out that most of them were made by John Ford. But I didn't know who John Ford was until I was probably 17 years old or something, and somebody told me, or I read something about John Ford.
Yeah. "Pauline Kael told us he was a fascist." You know, in fact, I am not a fascist. I am a total man of the people. They are the fascists. They're creating the fascist society. I am much closer to a Maoist. However, I am a Zen anarchist.
...
IGNFF: When did the shift come – when you felt that, "I'm really the odd man out, because now I'm not even able to make feature films?"
MILIUS: After Flight of the Intruder.
Francis was always open. Francis was always aware of himself. Francis was always aware of the situation. Plus, I think Francis was far and away the best of the lot. He was the real thing.
That's what I mean... they're trying to dress like directors. They also wear those stupid binders around their neck, so that they say, "Hey, I'm the director! I've got the binder!" You know?
Well, you know, the King and Ann-Margaret, in Las Vegas – it's good. It makes you feel good.
Isn't it a great society that we live in? I'll bet you that most kids have never seen Red River.
(sobre George Lucas) No, all of his movies are very manipulative, but so are Steven's. One of the things about my generation that I never liked terribly is that the films are extremely manipulative. The films that I liked, the filmmakers I liked, were not particularly manipulative. I remember, as a matter of fact, it was in Apocalypse and that scene where Mr. Clean gets killed, and of course he's listening to a tape recorder with his brother on the tape recorder. It's just shameless! I felt bad for that. They wouldn't feel embarrassed about that.
I was sitting there and looking at my career, and I realized you look at what you didn't get to do and how you were stopped and stifled from doing something, more than you look at what you did for the most part. That's what makes everybody in Hollywood bitter, particularly me, because I consider that I was given a raw deal. I was like blacklisted, you know, and I should have made so many more films. But, you know, I look at it as an artist, and I look what you can achieve in a lifetime, and I look at somebody like Hemingway. He wrote a bunch of books, but there's only about four of them that are really considered classics, and a couple of short stories. I've had that much. I've had four or five films that are definitely considered classics – probably two or three of them will last forever.
Yeah, I would never have a website about myself. I find the attention given to movie directors entirely uncalled for and too much anyway.
I liked it better when nobody knew who the director was, you know? They just sort of went to the movie. I was vaguely, vaguely aware when I was growing up that there were certain movies I liked – it just turned out that most of them were made by John Ford. But I didn't know who John Ford was until I was probably 17 years old or something, and somebody told me, or I read something about John Ford.
Yeah. "Pauline Kael told us he was a fascist." You know, in fact, I am not a fascist. I am a total man of the people. They are the fascists. They're creating the fascist society. I am much closer to a Maoist. However, I am a Zen anarchist.
...
IGNFF: When did the shift come – when you felt that, "I'm really the odd man out, because now I'm not even able to make feature films?"
MILIUS: After Flight of the Intruder.
