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Winterreise

Winterreise (, Winter Journey) is a song cycle for voice and piano by Franz Schubert (D. 911, published as Op. 89 in 1828), a setting of 24 poems by German poet Wilhelm Müller. It is the second of Schubert's two song cycles on Müller's poems, the earlier being Die schöne Müllerin (D. 795, Op. 25, 1823).

Both were originally written for tenor voice but are frequently transposed to other vocal ranges, a precedent set by Schubert himself. The two works pose interpretative demands on listeners and performers due to their scale and structural coherence. Although Ludwig van Beethoven's cycle An die ferne Geliebte (To the Distant Beloved) was published earlier, in 1816, Schubert's cycles hold the foremost place in the genre's history.

The autograph manuscript of the cycle is preserved in the Morgan Library & Museum.

Authorship and composition
Winterreise was composed in two parts, each with twelve songs, the first part in February 1827 and the second in October 1827. The two parts were also published separately by Tobias Haslinger, the first on 14 January 1828, and the second (the proofs of which Schubert was still correcting days before his death on 19 November) on 30 December 1828.

The text consists of poems by Wilhelm Müller. Müller, a poet, soldier and Imperial Librarian at Dessau in Prussia (present-day east-central Germany), died in 1827 aged 33, and probably never heard the first setting of his poems in Die schöne Müllerin (1823), let alone Winterreise. Die schöne Müllerin had become central to the performing repertoire and partnership of Schubert with his friend, the baritone singer Johann Michael Vogl, who introduced Schubert's songs to many people in their tours through Austria in the mid-1820s.

Schubert found the first twelve poems under the title ''Wanderlieder von Wilhelm Müller. Die Winterreise. In 12 Liedern in an almanack (Urania. Taschenbuch auf das Jahr 1823'') published in Leipzig in 1823. His intimate friend Franz von Schober had provided this book for him. It was after he set these, in February 1827, that he discovered the full series of poems in Müller's book of 1824, Poems from the posthumous papers of a travelling horn-player, dedicated to the composer Carl Maria von Weber (godfather of Müller's son F. Max Müller), "as a pledge of his friendship and admiration". Weber died in 1826. On 4 March 1827, Schubert invited a group of friends to his lodgings intending to sing the first group of songs, but he was out when they arrived, and the event was postponed until later in the year, when the full performance was given.

Between the 1823 and 1824 editions, Müller varied the texts slightly and also (with the addition of the further 12 poems) altered the order in which they were presented. Owing to the two stages of composition, Schubert's order in the song-cycle preserves the integrity of the cycle of the first twelve poems published and appends the twelve new poems as a Fortsetzung (Continuation), following Müller's order (if one excludes the poems already set) with the one exception of switching "Die Nebensonnen" and "Mut!". In the complete book edition, Müller's final running-order was as follows:"'Gute Nacht'; 'Die Wetterfahne'; 'Gefror'ne Tränen'; 'Erstarrung'; 'Der Lindenbaum'; 'Die Post'; 'Wasserflut'; 'Auf dem Flusse'; 'Rückblick'; 'Der greise Kopf'; 'Die Krähe'; 'Letzte Hoffnung'; 'Im Dorfe'; 'Der stürmische Morgen'; 'Täuschung'; 'Der Wegweiser'; 'Das Wirtshaus'; '[Das] Irrlicht'; 'Rast'; 'Die Nebensonnen'; 'Frühlingstraum'; 'Einsamkeit'; 'Mut!'; 'Der Leiermann'."Thus, Schubert's numbers would run 1–5, 13, 6–8, 14–21, 9–10, 23, 11–12, 22, 24, a sequence occasionally attempted by Hans Joachim Moser and Günther Baum.

Schubert's original group of settings therefore closed with the dramatic cadence of "Irrlicht", "Rast", "Frühlingstraum" and "Einsamkeit", and his second sequence begins with "Die Post". Dramatically, the first half is the sequence from the leaving of the beloved's house, and the second half the torments of reawakening hope and the path to resignation.

In Winterreise Schubert raises the importance of the pianist to a role equal to that of the singer. In particular, the piano's rhythms constantly express the moods of the poet, like the distinctive rhythm of "Auf dem Flusse", the restless syncopated figures in "Rückblick", the dramatic tremolos in "Einsamkeit", the glimmering clusters of notes in "Irrlicht", or the sharp accents in "Der stürmische Morgen". The piano supplies rich effects in the nature imagery of the poems, the voices of the elements, the creatures and active objects, the rushing storm, the crying wind, the water under the ice, birds singing, ravens croaking, dogs baying, the rusty weathervane grating, the post horn calling, and the drone and repeated melody of the hurdy-gurdy.

Opinions of Schubert's intentions
Many have attempted to explain the reason Schubert composed Winterreise. A possible explanation is documented in a book by Elizabeth Norman McKay, Schubert: The Piano and Dark Keys: "Towards the end of 1822 ... Schubert was very sick, having contracted the syphilis that inevitably was to affect the remainder of his life: his physical and mental health, and the music he was to compose." As detailed below, he worked on Winterreise as he was dying of syphilis.

In addition to his friend Franz von Schober, Schubert's friends who often attended his Schubertiaden or musical sessions included Eduard von Bauernfeld, Joseph von Spaun, and the poet Johann Mayrhofer. Both Spaun and Mayrhofer describe the period of the composition of Winterreise as one in which Schubert was in a deeply melancholic frame of mind, as Mayrhofer puts it, because "life had lost its rosiness and winter was upon him." Spaun tells that Schubert was gloomy and depressed, and when asked the reason replied, "Come to Schober's today and I will play you a cycle of terrifying songs; they have affected me more than has ever been the case with any other songs." He then, with a voice full of feeling, sang the entire Winterreise for us. We were altogether dumbfounded by the sombre mood of these songs, and Schober said that one song only, "Der Lindenbaum", had pleased him. Thereupon Schubert leaped up and replied: "These songs please me more than all the rest, and in time they will please you as well."

It is argued that in the gloomy nature of the Winterreise, compared with Die schöne Müllerin, there is a change of season, December for May, and a deeper core of pain, the difference between the heartbreak of a youth and a man. There is no need to seek in external vicissitudes an explanation of the pathos of the Winterreise music when the composer was this Schubert who, as a boy of seventeen, had the imagination to fix Gretchen's cry in music once for all, and had so quivered year by year in response to every appeal, to Mignon's and the Harper's grief, to Mayrhofer's nostalgia. It is not surprising to hear of Schubert's haggard look in the Winterreise period; but not depression, rather a kind of sacred exhilaration... we see him practically gasping with fearful joy over his tragic Winterreise – at his luck in the subject, at the beauty of the chance which brought him his collaborator back, at the countless fresh images provoked by his poetry of fire and snow, of torrent and ice, of scalding and frozen tears. The composer of the Winterreise may have gone hungry to bed, but he was a happy artist.

Schubert's last task in life was the correction of the proofs for part 2 of Winterreise, and his thoughts while correcting those of the last song, "Der Leiermann", when his last illness was only too evident, can only be imagined. However, he had heard the whole cycle performed by Vogl (which received a much more enthusiastic reception), though he did not live to see the final publication, nor the opinion of the Wiener Theaterzeitung: Müller is naive, sentimental, and sets against outward nature a parallel of some passionate soul-state which takes its colour and significance from the former. Schubert's music is as naive as the poet's expressions; the emotions contained in the poems are as deeply reflected in his own feelings, and these are so brought out in sound that no-one can sing or hear them without being touched to the heart.

Elena Gerhardt said of the Winterreise, "You have to be haunted by this cycle to be able to sing it."

Nature of the work
In his introduction to the Peters edition (with the critical revisions of Max Friedlaender), Professor Max Müller, son of the poet Wilhelm Müller, remarks that Schubert's two song-cycles have a dramatic effect not unlike that of a full-scale tragic opera, particularly when performed by great singers such as Jenny Lind (Die schöne Müllerin) or Julius Stockhausen (Winterreise). Like Die schöne Müllerin, Schubert's Winterreise is not merely a collection of songs upon a single theme (lost or unrequited love) but is in effect one single dramatic monologue, lasting over an hour in performance. Although some individual songs are sometimes included separately in recitals (e.g. "Gute Nacht", "Der Lindenbaum" and "Der Leiermann"), it is a work which is usually presented in its entirety. The intensity and the emotional inflections of the poetry are carefully built up to express the sorrows of the lover, and are developed to an almost pathological degree from the first to the last note, something explored (along with the cultural context of the work) by the tenor Ian Bostridge in Schubert's Winter Journey: Anatomy of an Obsession. Over the course of the cycle, grief over lost love progressively gives way to more general existential despair and resignation – the beloved is last directly mentioned only halfway into the work – and the literal winter's journey is arguably at least in part allegorical for this psychological and spiritual one. Wintry imagery of cold, darkness, and barrenness consistently serve to mirror the feelings of the isolated wanderer.

The cycle consists of a monodrama from the point of view of the wandering protagonist, in which concrete plot is somewhat ambiguous. After his beloved falls for another, the grief-stricken young man steals away from town at night and follows the river and steep ways to a charcoal burner's hut, where he rests before moving on. He comes across a village, passes a crossroads, and arrives at a cemetery. Here being denied even the death on which he has become fixated, he defiantly renounces faith before reaching a point of resignation. Finally he encounters a derelict street musician, the only instance in the cycle in which another character is present. The mysterious and ominous nature of the musician, along with the question posed in the last lines, leave the fate of the wanderer open to interpretation.

The two Schubert cycles (primarily for male voice), of which Winterreise is the more mature, are absolute fundamentals of the German Lied, and have strongly influenced not only the style but also the vocal method and technique in German classical music as a whole. The resources of intellect and interpretative power required to deliver them, in the chamber or concert hall, challenge the greatest singers.

Reworkings by others

 * Franz Liszt transcribed 12 of the songs in the cycle for piano (S. 561), rearranging their order: 1. "Gute Nacht" (S.561/1); 4. "Erstarrung" (S.561/5); 5. "Der Lindenbaum" (S.561/7); 6. "Wasserflut" (S.561/6); 13. "Die Post" (S.561/4); 17. "Im Dorfe" (S.561/12); 18. "Der stürmische Morgen" (S.561/11); 19. "Täuschung" (S.561/9); 21. "Das Wirtshaus" (S.561/10); 22. "Mut!" (S.561/3); 23. "Die Nebensonnen" (S.561/2); and 24. "Der Leiermann" (S.561/8). He may have intended to transcribe them all. See also Transcriptions by Franz Liszt.
 * Leopold Godowsky made a number of piano transcriptions of Schubert songs; the only one from Winterreise was the first song, "Gute Nacht".
 * Maury Yeston based his musical-theatre song cycle, commissioned by Carnegie Hall for its Centennial, December Songs on Winterreise.
 * Hans Zender orchestrated a version of the cycle in 1993, altering the music in the process.
 * Jens Josef created in 2001 a version for tenor and string quartet. It was recorded by Christian Elsner and the Henschel Quartet in 2002, and performed in 2004 by Peter Schreier and the Dresdner Streichquartett.
 * John Neumeier made a ballet to Winterreise on his Hamburg Ballet company in December 2001.
 * Rood Adeo translated Müller's poem "Das Wirtshaus" into an English version "The Hotel", and wrote a new composition to it for piano, Wurlitzer electric piano, celesta, harmonium, and bass. It was recorded by Rood Adeo & Nighthawks at the Diner at the Wisseloord Studios in 2002, and released on the album Transit Cellophane.
 * Oboist Normand Forget made a unique chamber version for accordion and wind quintet including bass clarinet, oboe d'amore and baroque horn, recorded in September 2007 by tenor Christoph Prégardien, accordionist Joseph Petric and the Montréal ensemble Pentaèdre. It was performed at the Hohenems Schubertiade, Austria 2009, and the Berlin Philharmonic Chambermusic series with the Berlin Philharmonic Wind Quintet 2013.
 * The deaf actor Horst Dittrich translated the cycle of poems into Austrian Sign Language in 2007 and presented it on stage in a production of ARBOS – Company for Music and Theatre directed by Herbert Gantschacher, with Rupert Bergmann (bass-baritone) and Gert Hecher (piano), in 2008 in Vienna and Salzburg and in 2009 in Villach (Austria).
 * Rick Burkhardt, Alec Duffy and Dave Malloy created an Obie award-winning theatrical adaptation of the cycle, Three Pianos, directed by Rachel Chavkin. The show played at the Ontological Theater and New York Theatre Workshop in 2010 and the American Repertory Theater in 2011.
 * Matthias Loibner, inspired by "Der Leiermann", the last song of Winterreise, arranged the cycle for voice and hurdy-gurdy, and recorded it in 2010 with soprano Nataša Mirković.
 * Keith Kouna's 2013 album Le voyage d'hiver was a French-language reimagining of Winterreise.
 * A new version of the entire cycle for voice and accordion (2014) features indie rock singer Corn Mo and accordionist William Schimmel.
 * Conal Morrison and Conor Linehan combined songs from Winterreise (translated into English by Stephen Clark) with Georg Büchner's Woyzeck in a music theatrical production Woyzeck in Winter which was produced by Landmark Productions and performed at the Galway International Arts Festival, the Barbican Centre, London, and the Dublin Theatre Festival in 2017. The cast was led by Patrick O'Kane and Camille O'Sullivan. Other leading cast members included Rosaleen Linehan, Barry McGovern and Stephen Brennan.
 * Covenant, a Swedish synthpop/industrial band, released "Der Leiermann" on their 2000 single United States of Mind.
 * British translator and lyricist Jeremy Sams produced an English translation that was recorded by baritone Roderick Williams and pianist Christopher Glynn in 2018.
 * Composer and conductor Massimiliano Matesic made an orchestral version of the cycle, which premiered in Zurich on December 29, 2018.

Editions
Besides re-ordering Müller's songs, Schubert made a few changes to the words: verse 4 of "Erstarrung" in Müller's version read [Schubert's text bracketed]: "Mein Herz ist wie erfroren [erstorben]" ("frozen" instead of "dead"); "Irrlicht" verse 2 read "...unsre Freuden, unsre Wehen [Leiden]" ("pains" instead of "sorrows") and "Der Wegweiser" verse 3 read "Weiser stehen auf den Strassen [Wegen]" ("roads" instead of "paths"). These have all been restored in Mandyczewski's edition (the widely available Dover score) and are offered as alternative readings in Dietrich Fischer-Dieskau's revision of Max Friedlaender's edition for Peters. A few of the songs differ in the autograph and a copy with Schubert's corrections. "Wasserflut" was transposed by Schubert from F♯ minor to E minor without alteration; "Rast" moved from D minor to C minor and "Einsamkeit" from D minor to B minor, both with changes to the vocal line; "Mut" was transposed from A minor to G minor; "Der Leiermann" was transposed from B minor to A minor. The most recent scholarly edition of Winterreise is the one included as part of the Bärenreiter New Schubert Edition, edited by Walther Dürr, volume 3, which offers the songs in versions for high, medium and low voices. In this edition the key relationships are preserved: only one transposition is applied to the whole cycle.

The following table names the keys used in different editions.

 * {| class="wikitable" style="text-align:center"

! rowspan="2" | Song !! Autograph & copy !! colspan=2 | Peters edition of Friedlaendler (1884) !! Schirmer changed to E minor || C minor || B minor || C♯ minor changed to C minor || A minor || G minor || A minor changed to B minor || A minor || G minor || B minor changed to G minor || F minor || D minor || F minor changed to A minor || F minor || F minor || G minor
 * +Published transpositions
 * Autograph || Tiefere Stimme || Tiefer Alt oder Bass || Low
 * style="text-align:left"| 1. Gute Nacht
 * D minor || B♭ minor || A minor || C minor
 * style="text-align:left"| 2. Die Wetterfahne
 * A minor || F minor || D minor || F minor
 * style="text-align:left"| 3. Gefror'ne Tränen
 * F minor || D minor || B minor || D minor
 * style="text-align:left"| 4. Erstarrung
 * C minor || G minor || G minor || A minor
 * style="text-align:left"| 5. Der Lindenbaum
 * E major || D major || C major || E major
 * style="text-align:left"| 6. Wasserflut
 * F♯ minor,
 * C minor || G minor || G minor || A minor
 * style="text-align:left"| 5. Der Lindenbaum
 * E major || D major || C major || E major
 * style="text-align:left"| 6. Wasserflut
 * F♯ minor,
 * style="text-align:left"| 6. Wasserflut
 * F♯ minor,
 * style="text-align:left"| 7. Auf dem Flusse
 * E minor || C minor || A minor || C minor
 * style="text-align:left"| 8. Rückblick
 * G minor || E♭ minor || D minor || E minor
 * style="text-align:left"| 9. Irrlicht
 * B minor || G minor || F minor || G minor
 * style="text-align:left"| 10. Rast
 * D minor,
 * B minor || G minor || F minor || G minor
 * style="text-align:left"| 10. Rast
 * D minor,
 * D minor,
 * style="text-align:left"| 11. Frühlingstraum
 * A major || F major || F major || G major
 * style="text-align:left"| 12. Einsamkeit
 * D minor,
 * style="text-align:left"| 12. Einsamkeit
 * D minor,
 * style="text-align:left"| 13. Die Post
 * E♭ major || B major || G major || B♭ major
 * style="text-align:left"| 14. Der greise Kopf
 * C minor || A minor || A minor || C minor
 * style="text-align:left"| 15. Die Krähe
 * C minor || A minor || G minor || B♭ minor
 * style="text-align:left"| 16. Letzte Hoffnung
 * E♭ major || C major || B♭ major || D major
 * style="text-align:left"| 17. Im Dorfe
 * D major || C major || B♭ major || D major
 * style="text-align:left"| 18. Der stürmische Morgen
 * D minor || C minor || B minor || D minor
 * style="text-align:left"| 19. Täuschung
 * A major || G major || G major || A major
 * style="text-align:left"| 20. Der Wegweiser
 * G minor || E♭ minor || D minor || E minor
 * style="text-align:left"| 21. Das Wirtshaus
 * F major || E♭ major || D major || F major
 * style="text-align:left"| 22. Mut
 * A minor,
 * A major || G major || G major || A major
 * style="text-align:left"| 20. Der Wegweiser
 * G minor || E♭ minor || D minor || E minor
 * style="text-align:left"| 21. Das Wirtshaus
 * F major || E♭ major || D major || F major
 * style="text-align:left"| 22. Mut
 * A minor,
 * style="text-align:left"| 22. Mut
 * A minor,
 * A minor,
 * style="text-align:left"| 23. Die Nebensonnen
 * A major || F major || F major || A major
 * style="text-align:left"| 24. Der Leiermann
 * B minor,
 * style="text-align:left"| 24. Der Leiermann
 * B minor,
 * }
 * }

Enduring influence
Schubert's Winterreise has had a marked influence on several key works, including Gustav Mahler's Lieder eines fahrenden Gesellen and Benjamin Britten's Night-piece. In 1991, Maury Yeston composed both the original music and text of December Songs, a song cycle influenced by Winterreise, on commission from Carnegie Hall for its Centennial celebration. In 1994 Polish poet Stanisław Barańczak published his poems, entitled Podróż zimowa, which – apart from one translation of a work by Müller – were inspired by Schubert's music. 2020 Deutschlandfunk presents a new production of the Winterreise by Augst & Daemgen. In the program Atelier neuer Musik it says: "Hardly any other recording of the Winterreise cycle deals with Müller's texts and Schubert's music in such a radically different way than the reading of the composers and interpreters Oliver Augst and Marcel Daemgen. The focus of the arrangements is not the brilliantly polished beautiful sound of centuries-old traditional musical tradition, but rather its strict breakthrough in order to gain a new, undisguised access to the topicality of old texts and the core of the music."

Recordings
There are numerous recordings. Some videotaped performances are also available, including mezzo-soprano Christa Ludwig with Charles Spencer (1994, Art Haus Musik), several by Fischer-Dieskau, one by Hermann Prey with pianist Helmut Deutsch, and a version by Thomas Quasthoff and pianist Daniel Barenboim filmed at the Berlin Philharmonie in 2005. Francisco Araiza tenor and Jean Lemaire (2014 Arthaus) coupled with Schumann's Dichterliebe; studio recording.
 * Before 1936 are the complete 1928 version of Hans Duhan with Ferdinand Foll and Lene Orthmann, the incomplete Richard Tauber version with Mischa Spoliansky, and the version of Gerhard Hüsch with Hanns Udo Müller (1933, for which an HMV limited edition subscription society was created).
 * Hans Hotter first recorded the cycle in 1942 with pianist Michael Raucheisen for Deutsche Grammophon.
 * There is an account by Peter Anders with Raucheisen recorded in Berlin in 1945.
 * Hans Hotter's famous account with Gerald Moore was issued in May 1955. Hotter went on to make two more recordings: with Erik Werba in 1961 and a live one with Hans Dokoupil in Tokyo in 1969.
 * Gérard Souzay's 1963 recording with Dalton Baldwin.
 * Dietrich Fischer-Dieskau, among the most famous of exponents, is showcased in seven versions spanning four decades:
 * three with Gerald Moore (1955 HMV, 1963 HMV, and 1972 DG),
 * and one each with Jörg Demus (1966, DG), Daniel Barenboim (1980, DG), Alfred Brendel (1986, Philips) and Murray Perahia (1992, Sony Classical).
 * A recording was made by Peter Pears with Benjamin Britten (issued 1965).
 * Very low-pitched recordings are available by Kurt Moll with pianist Cord Garben (Orfeo, 1983), and by Martti Talvela with pianist Ralf Gothóni (BIS, 1984), and by Josef Greindl with pianist Hertha Klust (Preiser 1957), and by László Polgár with pianist Jan Schultsz (Hungaroton, 2005).
 * Jon Vickers with Peter Schaaf (1983, VAI)
 * Mezzo-Soprano Christa Ludwig 1986 recording with James Levine, pianist on Deutsche Grammophon.
 * Olaf Bär's 1989 recording with Geoffrey Parsons on EMI classics.
 * Peter Schreier with András Schiff (1994, London/Decca)
 * Wolfgang Holzmair with Imogen Cooper (1996, Philips),
 * Thomas Quasthoff with Charles Spencer (1998, RCA)
 * Mezzo-Soprano Brigitte Fassbaender with Aribert Reimann
 * Christian Gerhaher with Gerold Huber (2001, RCA Sony BMG, re-edited in 2008)
 * Contralto Nathalie Stutzmann with Inger Södergren (2005, Erato)
 * Thomas Quasthoff with Daniel Barenboim (2005, DGG, DVD B-0005149-09)
 * Tenor Ian Bostridge with Leif Ove Andsnes (2006, EMI Classics); also, in 2000, Bostridge and pianist Julius Drake made a dramatic video recording of the entire cycle.
 * Mark Padmore with Paul Lewis (2009, Harmonia Mundi)
 * Werner Güra with Christoph Berner playing a Rönisch fortepiano of 1872 (2010, Harmonia Mundi)
 * Mark Padmore with Kristian Bezuidenhout (2018, Harmonia Mundi)

title: Winterreise


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Michael Cimino

Michael Antonio Cimino (, ; February 3, 1939 – July 2, 2016) was an American film director, screenwriter, producer and author. Notorious for his obsessive attention to detail and determination for perfection, Cimino achieved widespread fame with The Deer Hunter (1978), which won five Academy Awards, including Best Picture and Best Director.

With a background in painting and architecture, Cimino began his career as a commercial director in New York before moving to Los Angeles in the early 1970s to take up screenwriting. After co-writing the scripts for both Silent Running (1972) and Magnum Force (1973), he wrote the preliminary script for Thunderbolt and Lightfoot (1974). The latter became his directorial debut and one of the highest-grossing films of that year.

The accolades received for co-writing, directing, and producing The Deer Hunter led to Cimino receiving creative control of Heaven's Gate (1980). The film became a critical failure and a legendary box-office bomb, which lost production studio United Artists an estimated $37 million. Its failure was seen by many observers as the end of the New Hollywood era, with studios next shifting focus from director-driven films toward high-concept, crowd-pleasing blockbusters. More recently, however, Heaven's Gate has undergone a dramatic reappraisal, even being named by BBC Culture as one of the greatest American films of all time.

Cimino made only four subsequent films and grew infamous for the number of projects left unfinished due to his uncompromising artistry. In 2002, Cimino claimed he had written at least 50 scripts overall. Several of his ambitious "dream projects" included adaptations of the novels Conquering Horse, The Fountainhead and Man's Fate as well as biopics on crime boss Frank Costello and Irish rebel Michael Collins.

Early life
Cimino publicly shared few details of his early life and family background and is believed to have given false birth year information. Many Cimino biographies thus include inaccuracies about his early years, as well as his background in filmmaking.

Cimino's presumed birth date was February 3, 1939. A third-generation Italian-American, Cimino and his two younger brothers, Peter and Edward, grew up with their parents in the town of Westbury, on Long Island. He was regarded as a prodigy in early private education, but rebelled as an adolescent by consorting with delinquents, getting into fights, and coming home drunk. Of this time, Cimino described himself as "'always hanging around with kids my parents didn't approve of. Those guys were so alive. When I was fifteen I spent three weeks driving all over Brooklyn with a guy who was following his girlfriend. He was convinced she was cheating on him, and he had a gun, he was going to kill her. There was such passion and intensity about their lives. When the rich kids got together, the most we ever did was cross against a red light.'"

His father was a music publisher. Cimino says his father was responsible for marching bands and organs playing pop music at football games. "'When my father found out I went into the movie business, he didn't talk to me for a year,' Cimino said. 'He was very tall and thin... His weight never changed his whole life and he didn't have a gray hair on his head. He was a bit like a Vanderbilt or a Whitney, one of those guys. He was the life of the party, women loved him, a real womanizer. He smoked like a fiend. He loved his martinis. He died really young. He was away a lot, but he was fun. I was just a tiny kid.'"His mother was a costume designer. After Cimino made The Deer Hunter, she said that she knew he had become famous because his name was in The New York Times crossword puzzle.

Cimino graduated from Westbury High School in 1956. He entered Michigan State University in East Lansing, Michigan. At Michigan State, Cimino majored in graphic arts, was a member of a weightlifting club, and participated in a group that welcomed incoming students. He graduated in 1959 with honors and won the Harry Suffrin Advertising Award. He was described in the 1959 Red Cedar Log yearbook as having tastes that included blondes, Thelonious Monk, Chico Hamilton, Mort Sahl, Ludwig Mies van der Rohe, Frank Lloyd Wright, and "drinking, preferably vodka."

In Cimino's final year at Michigan State, he became art director, and later managing editor, of the school's humor magazine Spartan. Steven Bach wrote of Cimino's early magazine work: "'It is here that one can see what are perhaps the first public manifestations of the Cimino visual sensibility, and they are impressive. He thoroughly restyled the Spartan ' s derivative Punch look, designing a number of its strikingly handsome covers himself. The Cimino-designed covers are bold and strong, with a sure sense of space and design. They compare favorably to professional work honored in, say, any of the Modern Publicity annuals of the late fifties and are far better than the routine work turned out on Madison Avenue. The impact and quality of his work no doubt contributed to his winning the Harry Suffrin Advertising Award at MSU and perhaps to his acceptance at Yale University.'"

At Yale, Cimino continued to study painting as well as architecture and art history and became involved in school dramatics. In 1962, while still at Yale, he enlisted in the U.S. Army Reserve. He trained for five months at Fort Dix, New Jersey, and had a month of medical training in Fort Sam Houston, Texas. Cimino graduated from Yale University, receiving his Bachelor of Fine Arts in 1961 and his Master of Fine Arts in 1963, both in painting.

After graduating, Cimino moved to Manhattan and was given a job by Pablo Ferro with a small company that produced documentary and industrial films: "They taught me how to use a Moviola. I operated the Moviola and swept the floors and I was hooked — I decided to become a filmmaker." During this time, he also took ballet classes and studied under Lee Strasberg at the Actors Studio once every week in order to better understand how actors performed.

1960s
Within eighteen months of directing TV ads, he was hired by Madison Pollack O'Hare to work on special assignments involving "graphic design concepts and unusual approaches to live film". While there, he handpicked the best cameramen MPO employed to shoot his commercials, including Gordon Willis and Owen Roizman, before either rose to fame. He directed ads for L'eggs hosiery, Kool cigarettes, Pepsi, Canada Dry and Maxwell House coffee, among others. "I met some people who were doing fashion stuff – commercials and stills. And there were all these incredibly beautiful girls," Cimino said. "And then, zoom – the next thing I know, overnight, I was directing commercials." Few of Cimino's early commercial work survived.

One of his more successful commercials was shot for United Airlines in 1967. Taking a song called "Take Me Along" from the short-lived Broadway musical, he created an ad in which a group of housewives plead, musically, to their husbands to take them along on their business trips. The commercial is filled with the dynamic visuals, American symbolism and lavish set design that would become Cimino's trademarks. Later that year, he made his most famous commercial; for Eastman Kodak, called "Yesterdays", which went on to win several awards that year. The elaborate commercial took six days to shoot — two on an intricately built set in New York and four on location in Connecticut. Cimino apparently shot close to eight thousand feet of film, which was whittled down to 2 minutes. Although the ads he made were considered among the most prestigious in the industry, they became increasingly costly. "The clients of the agencies liked Cimino," remarked Charles Okun, his production manager from 1964 to 1978. "His visuals were fabulous, but the amount of time it took was just astronomical. Because he was so meticulous and took so long. Nothing was easy with Michael."

At the height of his commercial career, Cimino met Joann Carelli, then a commercial director representative, and the two began to date. Encouraged by Carelli, Cimino began to write screenplays, despite no background in writing. To be more prolific, Cimino sought out collaborators to work with, including poet Thomas McGrath and playwright Deric Washburn, who had produced a one-act play off-Broadway. Washburn later recalled that there was always a big distance, socially, between him and Cimino:

"'I remember trying to get to know him a little better. A friend had a house in Poughkeepsie, and I invited him up for the weekend. He shows up in his Rolls-Royce, and he's not comfortable there. But he wanted something from me, I think. Mike and I got closest when we started talking about a story. Then it was amazing. It was like one person. It was like a dance. We could boil together.'"

Thomas McGrath and Cimino co-wrote two scripts together, Paradise and Kef. McGrath also gave Cimino a copy of the 1959 Frederick Manfred novel Conquering Horse, tracing the history of the Dakota Indians in America before the arrival of the white man, which Cimino would go on throughout the rest of his life to try and make into a film.

1970s
By 1970, Cimino's agent Michael Gruskoff was approached with an offer from studio executive Ned Tanen to produce a slate of low-budget films for Universal Pictures, with Conquering Horse among them. The estimated budget for the film had gone far over what initially was projected, and would have cost Universal substantially more than their cut-off figure of $1 million to produce it. Moreover, Cimino wanted to shoot the film in black-and-white and use authentic Sioux dialogue, with subtitles. Shortly after the project was cancelled, Gruskoff assigned Cimino to help draft the script for a story outline by Douglas Trumbull for his science fiction film Silent Running, and he brought aboard Deric Washburn to help. The two morphed the script to be more countercultural. However, Steven Bochco was later brought in and rewrote the story to be less bleak and more "accessible" to a mainstream audience.

The following year, Cimino and Joann Carelli moved to Los Angeles where they rented a house in Hidden Hills that belonged to British director J. Lee Thompson. Carelli told Cimino that the only way he would be able to direct a film is if he wrote an original screenplay and got the biggest star in Hollywood to agree to be in it. Cimino, who had never written on his own, began by writing stories about people he knew about. From this habit, the script for Thunderbolt and Lightfoot was born, which first began as a period story about the Irish outlaw folk heroes Capt. Thunderbolt and Capt. Lightfoot. Cimino gained representation from Stan Kamen of the William Morris Agency, who urged him to make it a contemporary story. Taking both their advice, Cimino took the spec script to Clint Eastwood, who loved it and wanted to direct it himself. Cimino promptly told him that it wasn't for sale, and that he would have to direct the film or else there was no deal. Eastwood agreed, but under one condition: "I'll give you three days. If it doesn't work, I'll get another director." He also asked Cimino the favor of finishing John Milius' script treatment for the Dirty Harry sequel Magnum Force, which had a set shooting date. When Magnum Force was in production, Cimino was looking at various locations in Montana and preparing for Thunderbolt and Lightfoot. "We traveled a lot," said Cimino, "especially around the Great Falls; in the banks of the Dearborn and the Missouri; in the fields of wheat, east of Great Falls." In the film, Eastwood plays an aging Korean War veteran who, in the words of Cimino, "has lost his zest for life" and runs into an "exuberant, freedom-loving kid" (played by Jeff Bridges), who restores his youth. Bridges, for his part, felt hugely unprepared for the role, but was quickly reassured:

"'Mike looked at me, and said, 'You know that game Tag?' 'Yeah,' I said. 'Well... you're it,' Mike told me. He went on to say that this guy, Lightfoot, was no one other than me, that I couldn't make a mistake, or a false move, even if I wanted to. I've never forgotten that bit of direction that that young director gave me on his first movie, that gift of confidence.'"

George Kennedy and Geoffrey Lewis were also cast to star in the film, chosen for the primary reason that neither actor had ever done comedic roles before. Cimino had since compared their chemistry in the film to that of Laurel and Hardy. The film shot from July to September with a schedule of forty-seven days on a budget of $4 million. Cimino was careful to make Eastwood happy by keeping things moving quickly and efficiently. "I knew that the only way I could keep control of the movie was to be ahead of schedule," he said. Eastwood was impressed enough with Cimino's work that he allowed him to finish it his way. "I owe such a debt to that man," he later said of Eastwood. The film became a solid box office success at the time grossing $25 million and earned Bridges an Academy Award nomination for Best Supporting Actor.

With the success of Thunderbolt and Lightfoot, Cimino landed a deal at United Artists to write and direct The Fountainhead, based on Ayn Rand's sprawling novel about an architect who refuses to compromise, which he had loved for years. He sent his script to Elliott Kastner, who was going to produce, and his first choice to play the character of Howard Rourk was Clint Eastwood. Taking its cue from more than the novel, Cimino's modern-day adaptation was largely modeled off of architect Jørn Utzon's troubled building of the Sydney Opera House, as well as the construction of the Empire State Plaza in Albany, New York. "Making it a contemporary story meant that there was a lot of new work that had to be done [in adapting]," he said. According to Cimino, Eastwood turned the film down over concerns of being compared to his idol Gary Cooper, who had played the same character in the 1949 film adaptation. Over the years he continued to try to get it made, approaching different funding sources with copies of the script and each time rewriting it in the process.

He then worked for a year and a half at Paramount Pictures on a film from his original screenplay Perfect Strangers. Cimino described the film as a political love story that bore "some resemblance to Casablanca, involving the romantic relationship of three people." The film was sold to the studio as "a romantic Z" and was to star Roy Scheider, Romy Schneider and Oskar Werner in the lead roles. Cimino said they had come very close to doing it:

"'We'd already shot two weeks of pre-production stuff, but because of various political machinations at the studio, the project fell through. This was just before David Picker left. He was the producer. There were internal difficulties, that's all. Nevertheless, I'd spent a year and a half of my life on something. It had been a difficult time. My father passed away while I was writing the screenplay. I kept working...'"

Also in the air at this time were two projects offered to him by 20th Century Fox, which he developed for over two years. One film, Pearl, based on an unpublished book he wrote, was to be a musical biopic about singer-songwriter Janis Joplin. Cimino conceived the film's story with producer Marvin Worth and collaborated on the script in association with Oscar-winning screenwriter Bo Goldman. The film was made several years later under a rewritten script titled The Rose, with Joplin's name cut out after her family denied the producers the rights to her story. While Goldman received screenplay credit for his work, Cimino did not. Then, after meeting with James Toback, the two began work on The Life and Dreams of Frank Costello, a biopic chronicling four decades of the life of Mafia boss Frank Costello. Cimino saw the mobster as Gatsby; to him, he had a vision of America. "We got a good screenplay together," said Cimino, "but again, the studio, 20th Century Fox in this case, was going through management changes and the script was put aside." Cimino added, "Costello took a long time because Costello himself had a long, interesting life. The selection of things to film was quite hard." He also did a rewrite for United Artists of Frederick Forsyth's The Dogs of War to be directed by Norman Jewison, and was briefly attached to direct the film after Jewison left.

The film that came closest to production was an original for Paramount, titled Head of the Dragon, that was set in a "mythical South American country" and revolved around a polo-playing WASP who springs a Mafia killer from jail in order to assassinate a rebel leader. The project was described as Cimino's desperate attempt to come up with something commercial that might stand a chance at being made. With location scouting and pre-production work already three weeks in, the film was cancelled, due to issues Paramount was having with their other big production, Sorcerer, which was being shot in the same country. A month later, in October 1976, Cimino took what he thought would be another routine meeting at a production studio, where he gave a 1-hour pitch (with no script), verbally, to EMI executives for his ambitious Vietnam War drama The Deer Hunter. To his surprise, they accepted his pitch and gave him a set start date of March 17, later postponed to June.

Derived from some of Cimino's personal experiences, The Deer Hunter tells the story of three blue-collar steelworkers, portrayed by Robert De Niro, John Savage and Christopher Walken, who during the Vietnam War volunteer to serve together. Since he had to spend the next several months prepping for the film and scouting for locations, Cimino brought in Deric Washburn to help him write the film's script. According to Cimino, he would call Washburn every single night and feed him lines of dialogue and scenes to write. When Cimino returned, he was shocked with what he read, recalling that he felt it was written by someone who was "mentally deranged". Washburn, who said he couldn't handle the pressure in writing within the time constraint, left the project. From there, Cimino was forced to write the screenplay by himself within six weeks. "I had to write the thing on buses, on trains, in cars, at night in hotels, I mean I worked like a dog." Despite this, Washburn received sole writer's credit from the Guild after he went to a lawyer demanding arbitration. Roy Scheider was initially considered for the lead role, but after he dropped out, Cimino took the script to Robert De Niro, who insisted that he accompany him for the location scouting. The film also starred John Cazale, who at the time was dying of cancer and was therefore considered a liability by EMI. The steel town of Clairton, Pennsylvania used in the film was not shot there, but was instead composed of eight different towns in four states, including several in Ohio; Cleveland, Steubenville and Mingo Junction. Principal photography began in June 1977, but since the film took place during the winter, everything had to be defoliated; the grass had to be browned and the leaves stripped from the trees, which made the film fall behind schedule. Many locals from the various towns they shot in played minor roles in the film. "They brought an exceptional characteristic to the film," Cimino said, "[they] had certain facial expressions. You couldn't create that in professional extras." For the deer-hunting sequences, Cimino had his crew assemble, paint and transport a prefabricated cabin up to the Cascade mountain range. He also specifically requested that wild deer be used, which they had to ship from a special game preserve in New Jersey. The Vietnam scenes were filmed on location in Thailand, on the River Kwai and near the Burmese border, and in Bangkok, where the conditions were arduous, doubling the film's initial budget of $8 million to $15 million. Once there, Cimino advised De Niro, Walken and Savage that they sleep in their uniforms and never take them off, wet or dry, for the entire month. Because of the unstable political situation in Thailand and the subject matter of the material, Cimino had been warned not to fly the processed footage back in. Cimino agreed not to see any dailies on the condition that "I am going to have every camera we have rolling all the time because there is no coming back here." As a result, the film took a whole three months just to view the footage that had been shot, and another three to edit it down. Cimino's chosen length came in at almost three and a half hours. Universal initially wanted to cut it down to two hours, so that more daily showings were possible. "If we had done that," said Cimino, "We would have lost important things. The first places people attack are those scenes that involve character development. A film lives, becomes alive, because of its shadows, its spaces, and that's what people wanted to cut." Despite its grim subject matter, The Deer Hunter performed well when it opened in December 1978, but quickly aroused controversy, particular for the film's depiction of Russian roulette, which the characters were forced to play when captured by the Viet Cong. Even though he had never intended the film to be political (himself referring to it as a story of what happens to ordinary people when they experience tragedy ) Cimino was quickly dubbed by critics as a "right-wing fascist", particularly for the film's ending. Nevertheless, the film became a massive critical and commercial success, winning five Oscars, including Best Picture and Best Director for Cimino.

The day after the Academy Awards, Cimino flew up to Kalispell, Montana to begin shooting his Western epic Heaven's Gate, where it had been in pre-production for several months; finding locations, casting five hundred extras and building complicated sets. Joann Carelli, who had been a production consultant on The Deer Hunter, was the sole producer of the film, despite no longer having a romantic relationship with Cimino. An ambitious take on the American Western genre, the film follows a Harvard graduate who becomes a federal marshal investigating a Government-sanctioned plot to steal land from European settlers in Casper, Wyoming. The origins of the project dated back to a script Cimino had written earlier in the '70s titled The Johnson County War, based on a rare bit of history he stumbled across when researching the development of barbed wire and its use in the American West. At that time, his script was shelved due to its failure to attract big-name talent, such as John Wayne, who turned down the lead role. Later, in 1978, after a print of The Deer Hunter was screened for the head of production at United Artists, they offered Cimino a two-picture deal. What he wanted to do was The Fountainhead, but UA showed disinterest. Instead, he resurrected his screenplay for The Johnson County War, which he promptly rewrote before it went into production in April 1979 with an assembled cast of Kris Kristofferson, Isabelle Huppert and Christopher Walken. Cimino gave UA the initial budget estimation of $7.8 million, even though the period detail required for the film was astronomical. To authentically re-create the period, Cimino built an entire boomtown on the Montana location and transported a working steam locomotive from a Denver museum. He also had less time to prepare the film, since it was given a shorter pre-production period by United Artists to qualify for the December Oscar nomination deadline. Because each setup took such a long time to prepare, by the sixth day of filming the film was five days behind schedule. As with The Deer Hunter, Cimino was famously demanding of his cast and crew, including cinematographer Vilmos Zsigmond, whom he had liked working with before because of his "obstinacy" on set. Second assistant director Michael Stevenson since admitted that Cimino "lost his temper sometimes when people tried to interfere," but that the cast loved working with him "because Michael treated them with respect." When they weren't performing, the actors would take lessons on how to ride a horse, how to practice their characters' trades and how to dance. Even the extras used in the film were all considered with great detail; carefully chosen, dressed and even redressed if Cimino felt it wasn't right. They were also classified into specific groups of immigrants and merchants. "The idea," explained Cimino, "is that you must be able to look at any part of that immense screen and isolate from it any small piece according to your choice." Music arranger David Mansfield noted that the film's immigrant settlers were constantly filling out the background of crowd scenes. "Some bit character might be in the background while the lead actor is in the foreground. So you always see everybody in the community constantly, become familiar with them over the course of the picture." UA nearly ended up firing Cimino as the production budget continued to increase, with Norman Jewison or David Lean in mind to replace him. Ironically, a few years later, Cimino would be the first director approached to take over for Lean on the out-of-control production of The Bounty. Cimino, however, was intent on "painstakingly constructing his film according to photographs from the time" and immersing the audience into the world created in the film:

"'I wanted you to feel what it was like to walk down a street in that period: to follow those noisy wagons, to cross all that activity, what you felt, what you heard. People made so much dust; my God, was it dusty! That makes the streets dirty... when hundreds of wagons go around, they raise dust. And very often, we took the time to record the background sound. In the store, for example, we recorded numerous conversations, with the intention of inserting them into the soundtrack later. This isn’t general background noise; you hear people, in a corner, argue over the price of a knife, discuss the merits of a particular rifle... each of those people are engaged in a very specific activity and you hear them.'"

Shooting in Kalispell officially completed in October. By that point, $36 million was spent on the production. Cimino and Carelli then worked out a post-production schedule that would involve him delivering a film of three hours on May 1, 1980.

1980s
After editing the footage shot in Montana, filming for the Heaven's Gate prologue and epilogue began in March 1980. A rough edit of the film ended up screening for United Artists in June, running over five hours long. On November 18, Heaven's Gate had its world premiere in New York City. "I remember going to the New York premiere," said Jeff Bridges, one of the film's stars. "I'm not sure he [Cimino] had seen the movie complete; he was scrambling to put it together." In the 219-minute version that was shown, sound-editing problems in critical scenes made the plot hard for audiences to follow, and Cimino and cinematographer Vilmos Zsigmond tinted the film "with a kind of yellow glow" that was supposed to give an antique look, later removed in the 2012 restoration. "Afterward, we heard that terrible stuttering applause," said Bridges, "and it was that sinking feeling. We tried to tell ourselves, 'Well, maybe they liked it so much that they are stunned into silence.' " The reviews were devastating. Before the film opened in Los Angeles, Cimino asked for it to be withdrawn and re-edited. In 1981, a shorter version was released, with added narration. A new poster campaign and a submission into the Cannes Film Festival slate did little to make a dent in financial losses. The failure of the film was also blamed for the collapse of United Artists, which was then sold by the Transamerica Corporation, having lost confidence in the company and its management. As a result, UA executive Steven Bach wrote an entire book devoted to the topic, Final Cut: Art, Money, and Ego in the Making of Heaven's Gate, the Film That Sank United Artists. Cimino referred to the book as "work of fiction" by a "degenerate who never even came on the set." Bach retorted when he told a reporter he didn't resent Cimino or wish the movie ill: "It would be like wishing ill of a corpse." With its scathing reviews and financial loss, Heaven's Gate quickly became a Hollywood legend.

Cimino intended to follow up Heaven's Gate with Conquering Horse through his two-picture deal with United Artists, but was never realized after its failure. The film, based on the Western novel written by Frederick Manfred, would have been a generational saga set in pre-white America that dealt with a young Sioux boy's rite of passage. "It's a story of the American Plains," said Cimino in 1982, "[taking] place in the Dakotas and Montana." Also at this time, Cimino had been attached as the director of The King of Comedy, which he withdrew from when Heaven's Gate was green lit, but vowed to return to once production ended. The film was first reported in 1979 as a Joann Carelli production, with Buck Henry making revisions to the script. However, by 1981, Martin Scorsese had already entered negotiations to direct. According to Cimino, in his version he would have cast Andy Kaufman in the lead role as Rupert Pupkin. "I shot videotape of Andy for weeks," he said. His version was to have also starred Meryl Streep and Orson Welles.

Following Heaven's Gate, Joann Carelli quickly landed him a picture deal at CBS Theatrical Films to direct Nitty Gritty, described by The New York Times as "a black comedy about news reporting". The film was scheduled to be released in 1982, alongside a slate of films including Table for Five, however, Cimino's never went into production, just as with several of the other reported projects. It was later listed as a lost project of Cimino's by the Los Angeles Times, who reported that it had been retitled Live on Tape prior to being dropped by CBS. He also allegedly proposed his Frank Costello biopic, then retitled Proud Dreamer, to CBS with Robert De Niro in mind to star, but his script was rejected due to the project's budget.

In early September 1982, Cimino approached short story writer Raymond Carver and his wife Tess Gallagher (both fans of Heaven's Gate ) to rework a screenplay based on the life of Fyodor Dostoevsky, in hopes that he would direct it. According to Carver, Cimino presented him an existing screenplay commissioned by the veteran Italian film producer Carlo Ponti. The first draft had been written by Russian novelist Aleksandr Solzhenitsyn, and then translated to English by two Italian writers. Heavily researched, and taking Dostoevsky's near-execution as the film's focal point, Carver and Gallagher opted to rewrite the entire script, delivering a 220-page draft to Cimino in November. Cimino was impressed with the results, but Ponti returned to Europe shortly thereafter, halting further development. Fragments were later published in 1985, by Capra Press.

In December 1982, after being unable to finalize a deal with director Herbert Ross at the time, Paramount Pictures offered the job of directing Footloose to Cimino. Producer Daniel Melnick warned him that if the film went over its budget of $7.5 million, Cimino would have to cover the expenses himself and he agreed. Cimino's proposed reimagination of the film, "a John Steinbeck inspired musical-comedy" set during the Great Depression, was to have followed a rich girl from Houston who falls in love with a dancer from a shanty town. Working from Dean Pitchford's original script, Cimino was at the helm of the film for several months, making more and more extravagant demands in terms of set construction and overall production. Just when the film was to begin shooting, he asked Melnick to let him rewrite the screenplay for an additional $250,000 and to delay the start date. Melnick fired him, and Herbert Ross directed Footloose instead. According to Melnick, "It might have been a good film [if Cimino had directed], but it wasn't the film we wanted to make. It wasn't the film we came to the party with." Craig Zadan, one of the film's producers, also stated, "Cimino wanted to make a darker film. We wanted to make entertainment."

Several other unproduced projects followed, including a collaboration with Steven Spielberg and Gary David Goldberg on a script titled Reel to Reel, which he was going to direct for Columbia Pictures, and a second collaboration with Raymond Carver on a film which they gave the elliptical title of Purple Lake. The latter of the two was written partly from a CBS documentary found by Joann Carelli called VisionQuest which was the name of an unorthodox social program to rehabilitate delinquent teenagers by sending them on a wagon train across the Rockies. Cimino also apparently tried to revive his Fountainhead adaptation again, even attracting the interest of Barbra Streisand for the role of Dominique Francon.

In August 1983, after Ronald F. Maxwell was dismissed as the director of The Pope of Greenwich Village, Cimino was named as a possible replacement. Cimino wanted to finesse its screenplay with some rewriting and restructuring, which would have taken beyond the mandated start date for shooting. Instead, as a favor to the producers who were on a deadline, Cimino generously went over his copious notes written on the script with the new director they hired, Stuart Rosenberg. According to MGM president Freddie Fields, Cimino's contributions to the film were invaluable; "He's been a terrific consultant."

In the summer of 1984, an old project Cimino had been attached to finally seemed to be moving toward production. The film was The Yellow Jersey, based upon a novel by Ralph Hurne about an aging, woman-chasing professional cyclist who nearly wins the Tour de France. The rights had been optioned back in 1973 by film producer Gary Mehlman, who then made a development deal with Columbia Pictures. In 1975, Cimino had been brought on board to direct the film and visited the Tour for the first time, for research. Over the next decade, the film generated expenses of nearly $2 million, and been in development with four studios and several independent production companies. Then, when Dustin Hoffman indicated an interest in starring in it, Mehlman took it back to Columbia in 1983. With Hoffman coming off the success of Columbia's Tootsie, "the film would have gone [into production] the moment he was ready," said Mehlman. By then, Colin Welland and Carl Foreman were brought aboard as scriptwriters, as well as Danish filmmaker Jørgen Leth (who had made the 1976 bicycle-racing documentary A Sunday in Hell), as Hoffman's research adviser. Cimino said that production was long controlled by Foreman, who died in June 1984. The following month, Mehlman, Leth, Cimino, Welland and Hoffman went to France for the Tour, for yet more research. Shooting with the Tour de France was initially scheduled for 1980 and nearly every year since. Welland was still working on the script and hoped to have a draft by October of that year. It has been rumored that Hoffman fired Cimino from the production, although multiple sources claim that the deal simply "fell apart with Cimino". After he exited, none of the replacement directors that Mehlman or the studio suggested were satisfactory to Hoffman, so he too left and the film continued to sink further into development hell.

After working on a script about the role of Chinese immigrants in the construction of the first transcontinental railroad in the American West, Cimino finally accepted Dino De Laurentiis' offer to adapt Robert Daley's novel Year of the Dragon into a feature film, due to similarities in subject matter. Cimino accepted under the conditions that the book be nothing more than a point of departure, that he keep the freedom to tell the story his way and to change characters, and De Laurentiis agreed. Since the project already had a set start date for shooting, Cimino enlisted the help of Oliver Stone in writing the screenplay. The two apparently did over a year of research for the film, frequenting several Chinatown nightclubs and bars each night "to insinuate ourselves into their life." "With Michael, it's a 24-hour day," Stone later said of working with Cimino. "He doesn't really sleep... he's truly an obsessive personality. He's the most Napoleonic director I ever worked with." At this time, Cimino was simultaneously doing extensive work for the production of The Yellow Jersey. Several actors were considered for the lead role of Stanley White, including Jeff Bridges, Christopher Walken and Nick Nolte. Cimino eventually settled on Mickey Rourke after collaborating with him briefly on the production of The Pope of Greenwich Village, as well as Heaven's Gate several years prior. "Mickey is a true original," Cimino said of Rourke, "He's like a slugger, a battler... Mickey's like Joe Frazier and John [Lone] is like Ali." Cimino took note of the design of other Chinatowns throughout the world, and used the research to replicate New York's Chinatown and Mott Street for a detailed backlot which was constructed in Wilmington, North Carolina. Since its construction, the set for the film has been re-used extensively for other Hollywood film productions. The street was re-created in such extraordinary detail that even Stanley Kubrick (who was born in the Bronx), thought it had been the real Chinatown. Cimino, who often liked to shoot interiors in one city and exteriors in another, also filmed parts in New York City, Toronto, Vancouver, Bangkok, Thailand and Chiang Rai. Confident that he'd deliver on time and within budget, Cimino had a wager going with De Laurentiis that if he didn't go over budget, he would get the luxurious Mercedes that John Lone's character drove in the film. If not, Cimino would forfeit $50,000 of his salary. "It was four days over schedule, but $130,000 under-budget," said production manager Randolph Cheveldave, so Cimino collected. Upon its release, Year of the Dragon was sharply criticized for what many saw as offensively stereotypical depictions of Chinese Americans, but still managed to turn a profit at the box office. Afterwards, De Laurentiis signed a picture deal for Cimino to direct a film adaptation of the Truman Capote novella, "Handcarved Coffins". De Laurentiis had planned to release the film in 1986 following his purchase of Embassy Pictures.

In 1986, Cimino accepted the deal to direct the adaptation of the best-selling Mario Puzo novel The Sicilian, after Dino De Laurentiis cancelled the production of Hand Carved Coffins. The Sicilian had been offered previously to directors Francis Ford Coppola, Martin Scorsese and Brian De Palma, who all declined. At the time Cimino boarded the project, it initially had Michael Corleone set up as a character, but due to rights issues, all Godfather references were removed. There had already been a screenplay by Steve Shagan, but since Cimino felt the film needed more "political bite", he brought aboard novelist Gore Vidal to help rewrite the script. Around 80 pages of material were added to Shagan's initial draft, either by Cimino himself or Vidal, who later sued the Writers Guild for receiving no credit. According to film critic F. X. Feeney, Cimino's first casting choice for Salvatore Giuliano was Daniel Day-Lewis, but since he was relatively unknown at the time, the producers suggested Christopher Lambert, whom Cimino accepted because his name guaranteed financing. During production, Cimino worked closely with Umberto Tirelli (a frequent collaborator of Luchino Visconti's, whom Cimino admired) on the period wardrobe required for the film. Cimino had specifically requested that he work with him directly during the fitting, much to Tirelli's chagrin, who exclaimed in rage, "Goddamn it! I promised myself when Luchino died that I would never work this hard again!" Cimino said this was the best backhanded compliment he ever received in his career. Filming began in Sicily that July, shot extensively in the capital city of Palermo as well as in the mountains of western Sicily. Soon after production ended in September, Cimino turned in his cut of the film, which ran over the agreed runtime of 105–125 minutes stipulated in his contractual obligation. When Gladden tried to re-edit the film, Cimino filed a lawsuit to stop them. Cimino's contract granted him final cut privilege as well as two test screenings of his longer version, which he was never given. Cimino lost, and the film was released a year later, in October. When released in 1987, the film did poorly, but received some critical acclaim, notably by F. X. Feeney, who saw Cimino's director's cut, released only in France.

In 1987, before the release of The Sicilian, Cimino began work on an epic saga chronicling the life of the Irish patriot Michael Collins, based on a screenplay by Eoghan Harris. After disagreements with Harris over Collins as a character, his draft was heavily rewritten by Cimino with the assistance of Robert Bolt, which the two developed in London. Their script, now titled Blest Souls, was described by the Los Angeles Times as "a love story set against the backdrop of the Irish rebellion" and would have starred Gabriel Byrne in the lead role as Collins. Joann Carelli assisted with casting for the project; finding Sean Bean and Tilda Swinton to co-star. To inspire the mood of the film, Cimino spent countless hours reading the work of Irish poet W. B. Yeats. He also began scouting for locations in Edinburgh, Liverpool and in Ireland. While there, him and his team of production managers sought permission from the Irish Parliamentary Party to use their army for the production, which they got. Bono and Bob Geldof were also signed on to compose the music. The film was backed by Nelson Entertainment and would have re-teamed Cimino with his Deer Hunter co-producer Barry Spikings. David Puttnam of Columbia Pictures reportedly gave Cimino the green light to begin shooting, however due to the corporate meddling of Coca-Cola who wanted to go for something decidedly more mainstream, he would be forced to compromise his vision for the film. Instead, Cimino quit, and a separate script by Neil Jordan later resurfaced and was made into a film in 1996 starring Liam Neeson as Collins. Bolt later admitted he didn't know what came of the project or their script: "Yes, he [Cimino] fled back to America, and all of a sudden, that was that. I don't know what happened."

Less than three weeks after the Collins biopic was cancelled, Cimino started pre-production work on Santa Ana Wind, a contemporary romantic drama set in L.A. offered to him by Barry Spikings. Budgeted at roughly $15 million, the set start date for shooting was early December 1987. The screenplay was written by Floyd Mutrux and the film was to be bankrolled again by Nelson Entertainment. Cimino's representative added that the film was "about the San Fernando Valley and the friendship between two guys" and "more intimate" than Cimino's previous big-budget work like Heaven's Gate and the then unreleased The Sicilian. However, Nelson Holdings International Ltd. cancelled the project after disclosing that its banks, including Security Pacific National Bank, had reduced the company's borrowing power after Nelson failed to meet certain financial requirements in its loan agreements. A spokesman for Nelson said the cancellation occurred "in the normal course of business," but declined to elaborate. The film, also intended for distribution by Columbia, did not feature any major stars.

Cimino finished out his picture deal with Dino De Laurentiis in 1989 when Mickey Rourke suggested he direct the remake of the 1955 home invasion thriller The Desperate Hours. The film had been in preparation for several years with directors Christopher Cain and William Friedkin attached at different points. Rourke only agreed to do the film if Cimino would direct it due to his ability to transcend the material, "Michael's one of the few directors able to elevate beyond what an actor's capable of doing." Since Alex Thomson was unavailable, Cimino enlisted the services of rookie cinematographer Doug Milsome, whom he got to know through Stanley Kubrick. While shot on 35 mm film, Desperate Hours is the first of Cimino's works not to be photographed in his preferred Anamorphic aspect ratio. Principal photography began in October 1989 at Trout Lake near Telluride, Colorado. From there, the production moved to Salt Lake City. Like many of Cimino's works, the film was shot in a variety of locations, mainly in Utah. Although Cimino was allegedly shooting from his own separate script, Writers Guild arbitration established that since the first draft by Lawrence Konner and Mark Rosenthal (along with the original author Joseph Hayes), was the one Cimino agreed to, his name was removed from the credit. The interior house from the film, which was also designed by Cimino, was built at the Ventura Entertainment Center in Orem, Utah, with fully constructed rooms in order to create a look and feel of claustrophobia. It was also designed "with complete fluidity of movement, in any direction" featuring hidden compartments and passages so that the camera could be placed anywhere throughout the house. According to Cimino, co-star Anthony Hopkins would often get angered by Rourke's unprepared habits and improvisations on set: "Mickey's been shot in the head with Brando. This whole 'I don't have to know my fucking lines' thing. Tony Hopkins wanted to kill him." Filming wrapped that December, five days ahead of the schedule. De Laurentiis took a two-page ad in The Hollywood Reporter congratulating Cimino for finishing on time and within budget, dubbing the film "a picture of shattering importance." After poor previews however, De Laurentiis apparently edited out several scenes, including an intense, eight-minute confrontation between Lindsay Crouse and Kelly Lynch in "a huge, empty football field" because test audiences "read lesbian overtones" into their relationship. Cimino's original cut apparently lasted over two and half hours. The only known evidence of additional footage are from a few stills, which seemingly show a few of them.

1990s
In 1991, Cimino participated in that year's Avoriaz Fantasy Film Festival, where he served as jury president and awarded director John Harrison with the Grand Prix for his film Tales from the Darkside: The Movie.

Following the poor reception of Desperate Hours, Cimino wrote an original screenplay called Heaven Is a Sometime Thing which he began submitting to studios circa 1992. It was conceived with Joann Carelli and told the story of a New Mexico mine-worker named C.J. who becomes a brilliant golfer and is estranged from his working-class waitress girlfriend when he meets an heiress and is taken up by high society. F. X. Feeney, who helped him with the script, compared it to the triangle of Montgomery Clift, Shelley Winters and Elizabeth Taylor in A Place in the Sun. The Washington Post reported that Cimino had developed the project at Paramount. He later resurrected the script and was able to publish it in France as a short novel.

Taking on "writer-for-hire work" in Hollywood, Cimino wrote an adapted script for Clint Eastwood's Malpaso Productions from the 1993 novel Paradise Junction, which Eastwood would have either directed/starred in. He was also writing a script for filmmaker John Woo based on his story titled Full Circle, which Woo claimed would "have a similar style to The Killer."

In the mid-90s, Oliver Stone attracted the attention of producer Mario Kassar, who had produced The Doors for Stone, to help fund Cimino's ambitious Conquering Horse project. However, as Stone recalled, "He [Cimino] was too difficult to deal with. He was arrogant, and I don't know that he ever gave it up. He never could eat humble pie or didn't seem to."

In 1995, Cimino was approached by Regency producer Arnon Milchan to helm The Sunchaser, which would ultimately become Cimino's last feature-length film. A spiritual road odyssey, the film stars Woody Harrelson as a Los Angeles doctor who is held at gunpoint by a teenage convict dying of abdominal cancer (played by Jon Seda), and forced to drive into Navajo Country in search of a sacred mountain lake with healing powers. The script by Charles Leavitt (which had been offered previously to Diane Keaton and Mel Gibson), was virtually rewritten by Cimino. Incorporating elements of his unproduced screenplays for both Conquering Horse and Purple Lake into it, the film had a personal resonance to Cimino; "When I was very young, I was lucky enough to spend some time... with the tribe of the Dakota Indians," he said. "I immersed myself so heavily in their culture that, in a way, it became my religion—a religion based on a very simple idea: a stone, a cloud, a rock, everything has spirit, is life. Sunchaser allowed me to return to this." Jack Nitzsche was the original composer but Cimino fired him after the two didn't get on well. Instead, he hired Maurice Jarre, who orchestrated a bombastic, old-school score. The Sunchaser made its debut at the 1996 Cannes Film Festival, where it screened in competition for the Palme d'Or. However, unsupported by its distributor, the film was released theatrically only in a few theaters in the southwest, where it played for a week, grossing roughly $30,000 on a budget of $31 million."

Cimino was to follow the film up with An American Dream in 1997, about the first Asian immigrant to join Al Capone's mob. Jason Scott Lee was attached to star and The Hollywood Reporter indicated that the film was to shoot in Chicago, San Francisco and South Korea. That same year, Cimino was reported to direct The Dreaming Place for Trimark Pictures. Originally titled Law of the Jungle, Variety reported that the film, which was in the early stages of development, was to be a male vigilante story along the lines of Paramount's Eye for an Eye. Rodney Patrick Vaccaro wrote the screenplay under the supervision of Cimino, and Jonathon Komack Martin was to executive produce the film. The planned budget was not revealed, however, it was Trimark's attempt to make a bigger-budgeted film than usual which is ultimately why it was never produced. According to Vaccaro, he and Cimino apparently collaborated on two projects in total together over a period of four years.

In July 1997, Cimino served as president of the international competition jury at the 42nd annual Taormina Film Fest.

As early as 1997, Cimino was attached as the director of a film called Brasil 1500, planned to debut in the United States under the title Gonçalo, after the main character. Variety magazine incorrectly referred to the film's title as 1500. This Brazilian-American co-production intended to portray the events of the day of the arrival of Pedro Álvares Cabral's flagship in Santa Cruz Cabrália on April 21, 1500. Written by first-time Brazilian scribe Fábio Fonseca, the film was to have been told through the eyes of a fictional character (similarly to Titanic), named Gonçalo, a Portuguese sailor from Cabral's fleet. Antonio Banderas was eyed as a possible star, with a supporting cast planned to be composed largely of Brazilian natives. Cimino and producer Ilya Salkind were also interested in casting several British actors for the project, chief among them being Paul Scofield. A budget of $35 million was estimated, with principal photography initially set for January and February 1998. Filming was then pushed back to early 1999, for a planned release in 2000, coinciding with the 500th anniversary of the discovery of Brazil. That year, Cimino was in Brazil to choose sets and scout locations, which included Porto Seguro and Portugal. For research, he read the famous epic poem Os Lusíadas, about the discovery of a sea route to India. Speaking at a press conference in Lisbon, Cimino said that unlike the films made about Christopher Columbus' discovery of the Americas, this film would follow a young man as its protagonist, "in a story very similar to that of Lawrence of Arabia," he said. He also claimed that an exact replica of Cabral's flagship had been constructed for the production. The film was not made due to producers Ilya Salkind and Jane Chaplin's failure to secure a deal with an international investor.

2000s
After Gonçalo was rejected by Warner Bros., Paramount and Disney, Cimino began to work on writing his first novel, titled Big Jane. Set in 1951, and 173 pages in length, the story follows a "dynamite-looking, six-foot blonde who wears blue jeans, a Miss Universe of muscle," who travels by motorcycle across America and ends up fighting in the Korean War alongside a brigade of women. Initially conceived as a screenplay, Big Jane was meticulously translated from English to French and published on September 5, 2001 by publishing house Éditions Gallimard. Cimino later tried seeking interest from U.S. publishers, to no avail. He first appeared with the screenplay treatment (written in prose at novel length), at that year's Venice Film Festival, where he conducted a staged reading from the piece and proclaimed that the next time he would return with a film made from the story. Cimino was then honored at Deauville, where he received the Prix littéraire Lucien-Barrière, an award that previously went to Norman Mailer and Gore Vidal. "Oh, I'm the happiest, I think, I've ever been!" he said in response.

In September 2001, it was reported that Cimino would return to the director's chair to make Man's Fate, a 3-hour epic set against the backdrop of the Chinese Revolution. Based on French author André Malraux's 1933 novel, the film, as described by Cimino, was to have depicted "the deep, emotional bonds that develop between several Europeans living in Shanghai during the tragic turmoil that characterized the onset of China's Communist regime." The roughly $25 million project was to have been shot wholly on location in Shanghai in June of the following year and would have benefited from the support of China's government, which said it would provide $2 million worth of local labor costs. The film's producer, Mirko Ikonomoff was in early talks to pre-sell Man's Fate to several European groups, including Italy's RAI and France's TF1, but failed in his attempts. Actors Johnny Depp, Daniel Day-Lewis, John Malkovich and Alain Delon were all in negotiations as possible stars for the project, as well as Uma Thurman or Nicole Kidman as the female lead. After failing to raise money elsewhere, Cimino took his script to Martha De Laurentiis who passed on it. "If you edit it down, it could be a very tight, beautiful, sensational movie," De Laurentiis said, "but violent, and ultimately a subject matter that I don't think America is that interested in." Cimino however, felt differently, "There was never a better time to try to do Man's Fate," he said, "because Man's Fate is what it's all about right now. It's about the nature of love, of friendship, the nature of honor and dignity. How fragile and important all of those things are in a time of crisis." In a March 2002 interview for Vanity Fair, Cimino called the screenplay "the best one I've ever done," adding that he had "half the money; [we're] trying to raise the other half." Up until his death, Cimino tried to get the film off the ground several times, struggling to secure financing. In what would be his last interview in March 2015, Cimino had said he still hoped to make the film someday.

In a 2001 issue of Billboard magazine, it mentioned Cimino was then attached to direct the music video "Emerge" for the electroclash duo Fischerspooner. Nothing came of this however, as it was ultimately directed by someone else.

Cimino was attached to produce the independent film The Silk Curtain about Empress Dowager Cixi, who ruled China for 47 years until 1908. Consulina Wong was to have directed from her own screenplay, and was to have starred as Cixi. Jason Scott Lee was also considered for a role. Cimino said he was drawn to The Silk Curtain by the strength of the characters and "the intimate story about their relationships played out against one of the most tumultuous periods in China's history." The film was to have been produced by COJODA Productions, and a private reading was held at the Kumu Kahua Theatre in Honolulu in 2002, but the project failed to pique interest from potential investors.

In 2003, Cimino published his second novel, a two-volume work; the first a partially fictitious memoir called Conversations en miroir (English translation: Shadow Conversations) which he co-authored with Francesca Pollock, and the other a short story called A Hundred Oceans. The latter of the two Cimino adapted from his pre-existing feature-length screenplay Heaven Is a Sometime Thing. Neither this, nor his first novel Big Jane were released in the states. Cimino has mentioned in interviews that he wrote a third book called Sailing to Byzantium (named after the poem by W. B. Yeats), about a dying tycoon who reflects on his life. He began writing it as early as 1997, and it still to this day, remains unpublished. Cimino had apparently sent an early draft of the novel to a friend, requesting later that they burn their copy: "I want to hear every page going into the incinerator."

In 2004, after Terrence Malick exited as director of the Che Guevara biopic, Cimino apparently pitched himself to direct it. Steven Soderbergh was eventually chosen as the film's director.

In 2007, Cimino was asked by Cannes director Thierry Frémaux to contribute a 3-minute short segment for the collective film To Each His Own Cinema, celebrating the 60th year of the Cannes Film Festival. The project consisted of 34 short films by 36 acclaimed directors. Representing five continents and 25 countries, the filmmakers were invited to express "their state of mind of the moment as inspired by the motion picture theatre". Cimino's segment depicts a cigar-smoking French filmmaker who films a Cuban pop star's music video in a movie theater. Later, when she is shown the footage, she is angered by his editing decisions and begins to strangle him. While spoken entirely in different languages, the film has no subtitles. But as its title, ("No Translation Needed") suggests, they are not necessary.

2010s
In the early 2010s, French film producer Vincent Maraval worked on various projects with Cimino, none of which came to fruition. One film, an original screenplay by Cimino himself titled Cream Rises, followed the daily lives of two young female models, (whom Maraval compared to Paris Hilton and Nicole Richie) who are "completely disconnected from reality" and live a hedonistic life in Los Angeles filled with empty sex and boozing. Cimino wanted Taylor Swift to play one of leads, but since she was unknown at the time, Maraval passed on it. Halfway through the film, the more timid of the two girls is murdered and the other heads to the countryside to find her uncle, "An old cowboy farmer with very Western values", whom Christopher Walken was to embody. "It was something very contemporary," Maraval explained, "About the world of today and its confrontation with the world of yesterday. As if the cinema of Cimino looked at the cinema of today. It was very moving." The script for Cream Rises was also read by the TV channel Arte, who were apparently "enthusiastic" about possibly investing.

Other projects Cimino worked on with Maraval later in his life include a feature adaptation of the Tennessee Williams short story "One Arm" as well as a film about the history of America from the point of view of the Native Americans.

At the persistence of Joann Carelli, Cimino meticulously supervised a restoration of Heaven's Gate frame-by-frame, for The Criterion Collection, where he restored the original film's color. Cimino said, while at first hesitant to revisit the film, that his instincts quickly took over:

"'The minute I sat down at the editing console, something else in me took over, and my hands began to work. My brain began to work. And before I knew it, I was working on this restoration, which I swore I would not do... The more I worked on it, the more I became absolutely blown away by the commitment of people like Kris [Kristofferson], and Chris Walken, Isabelle Huppert, all the actors. The intensity that they brought to every moment that they were on film, and off film. I owe a great debt to them because they dedicated the better part of a year to this enterprise. And when we first showed it, of course, in New York, it was like we all got guillotined at the same time. And I was always especially upset at the fact that the actors' work was never recognized. You know, for some reason I was singled out.'"

In 2012, at the 69th Venice Film Festival, the restored director's cut was screened and was met with a standing ovation. The film was also shown at the New York Film Festival, a return to "the scene of the crime" said Cimino, where it received subsequent acclaim, even being dubbed by critics as a misunderstood masterpiece. Cimino was deeply moved by the positive reception at the film's re-release, "All of those years, I felt like Heaven's Gate was a beautiful, fantastically colored balloon tied to a string fastened to my wrist, so the balloon could never fly," he said.

Despite previous mentions of his distaste for the genre, Cimino revealed through his Twitter account in late 2012 that he had "Recently finished a sci-fi script," but no further details were reported.

In 2015, he was awarded the Leopard of Honour at the Locarno Film Festival, for his life's work achievement. After receiving the award, the following day Cimino took part in a discussion about his career in front of an audience in one of his last public appearances. When asked if he was working on another project, he replied, "Always. I never stop. If you stop, you die."

Death and legacy
Cimino was confirmed dead on July 2, 2016, at age 77, at his home in Beverly Hills, California. No cause has been disclosed officially to the public. Since his death, many directors, actors, and other public figures paid tribute to him, including Robert De Niro, Thierry Frémaux, Edgar Wright, William Friedkin, Paul Rust, Christopher McQuarrie, Kelly Lynch, Jason Reitman, Mark Romanek, Jay Baruchel, Mark Harris and Sophie Marceau. Film critic F. X. Feeney (a close friend of Cimino's) wrote: "'A few weeks before his death, Michael consulted a physician about a mild respiratory complaint but otherwise suffered no signs of ill health. When I last had lunch with him on June 19th, he was full of energy and plans. Nevertheless, because he was an intuitive man, I feel certain looking back that he had an inkling his life was drawing to a close. He took deliberate care to mend fences with as many people as he could in the last year of his life, and with me that last day he was more reflective than I'd ever known him to be about his early life. He was full of amused memories centered on his dad's fierce perfectionism. Friends and loved ones found him impossible to reach after the 28th of June, and – when the police entered his house after several days – the officer who found him tucked in his bed described him as 'peacefully deceased.' His heart had apparently stopped without trauma, in sleep. There was no funeral or public memorial thereafter, and he needs none. His monuments are onscreen.'"

His work has been lauded by such filmmakers as Stanley Kubrick, Agnès Varda, Martin Scorsese, Francis Ford Coppola, Miloš Forman, Spike Lee, Olivier Assayas, Greta Gerwig, Steven Soderbergh, Brett Ratner, David Gordon Green, James Gray and Quentin Tarantino.

The director was the subject of the 2021 documentary Michael Cimino, un mirage américain, featuring audio recordings conducted by French critic Jean-Baptiste Thoret. Reflecting on the time he spent with him, Thoret said:

"'I understood that he [Cimino] had a terrible time inhabiting the present, the reality of the life of every day. Physically but also in his way of thinking: he was always elsewhere. Not in an ethereal or disconnected way. He was in a very precise past and therefore also a bit in a fantasy... he fantasized about a relationship with America, with John Ford.'"

Joann Carelli and her daughter Calantha Mansfield have been the proprietors of Cimino's legacy following his death. According to biographer Charles Elton (who published a book on the late director in 2022), Carelli currently resides in Europe where she spends her time looking for funding for films based on some of Cimino's unpublished writings.

Other projects
At some point between the releases Thunderbolt and Lightfoot and The Deer Hunter, Cimino attempted to write an adaptation of Fyodor Dostoevsky's Crime and Punishment.

In the month before he gave the pitch for The Deer Hunter, Cimino was briefly attached to helm James A. Michener's adventure novel Caravans, set in contemporary Afghanistan. The film had spent roughly a decade in development before it was released.

In 1976, Cimino met Oliver Stone who offered him the chance to direct his script adaptation of Midnight Express (before the book had even been published), which he loved. Cimino declined however, as he was already doing extensive pre-production work for The Deer Hunter, but the two remained in touch and would collaborate on several other projects. A few years later, he met Stone again, who was optioning his screenplay for Born on the Fourth of July. Al Pacino was attached to star as Ron Kovic. At that time, Cimino was eager to make another film about Vietnam and the stories of returning veterans, even going as far as to offer to work for free. However, the producer, Martin Bregman, declined. The film was later resurrected in 1989, and directed by Stone himself.

Sometime after Cimino finished post-production work on The Deer Hunter, he gave a "unique pitch" to direct The Empire Strikes Back. "Everyone was pitching ideas for Star Wars," he said in 2012, "Mine was simple: A straight Western, but with lasers."

It was rumored that Cimino had been in early discussions with producer Robert Stigwood to direct the adaptation of the musical Evita at EMI, after he had finished The Deer Hunter. However, following the disastrous reception of Heaven's Gate in New York and Hollywood, a spokesman with Stigwood claimed that Cimino had never been involved with Evita at any capacity and that they "planned to seek a retraction from Time magazine," which had listed him as the film's director.

Producer Dino De Laurentiis purchased the film rights to the horror novel The Dead Zone after Stanley Donen left the project as director, at Lorimar. De Laurentiis approached Cimino to direct, and was very briefly attached but was championed by author Stephen King to be replaced after disagreements over the rewriting of the script when King attempted to adapt it himself.

For a period of time in 1984, Cimino agreed to produce Platoon for Oliver Stone, with Emilio Estevez attached at that time to star as Staff Sgt. Barnes. Stone then signed on to co-write Cimino's Year of the Dragon for Dino De Laurentiis under the condition that he would next finance Platoon as a result. Cimino moved on after the project fell through with De Laurentiis at MGM, and from there the script was passed to John Daly and released in 1986. According to Stone, it was Cimino who had encouraged him to bring back his script for the film when Stone had given up on it: "He said 'It's going to come back', and I'm glad he said that."

Around the same time he was doing Year of the Dragon for Dino De Laurentiis, Cimino had a deal to direct a biopic at Embassy Pictures based on the William Kennedy novel Legs. Mickey Rourke was attached to play the gangster Legs Diamond, and had told the Chicago Tribune in 1985 that, "One side's waiting for a rewrite, the other side's waiting for the money for a rewrite," but felt that it still would be made eventually. Leonard Termo was also attached to the project, as Diamond's bodyguard.

One of Cimino's hopes since first arriving in Hollywood was to helm a big-budget, old-fashioned Hollywood musical loosely inspired by the Porgy and Bess opera. In a 1985 interview for Cahiers du cinéma, Cimino said that he wanted to reimagine it as a romantic tale of a young, black Gospel-singing girl from the South (loosely based on Eva Jessye) who falls for a white Juilliard concert pianist (loosely based on George Gershwin). Together, the two struggle to stage a Broadway production of Porgy and Bess. In the same edition, Cimino discussed his love for the work of Ayn Rand, expressing interest in someday adapting her novel Atlas Shrugged for the screen, in addition to The Fountainhead.

Influences
Cimino has shown great admiration for Luchino Visconti, John Ford and Akira Kurosawa, dubbing them "The Holy Trinity of movies." He has also praised the work of film director Vincente Minnelli and "his attention to detail, especially in the musicals." He once named his literary influences as Vladimir Nabokov, Alexander Pushkin, Leo Tolstoy, Gore Vidal, Raymond Carver, Cormac McCarthy, the classics of Islamic literature, Frank Norris and Steven Pinker. Cimino also said that he liked to begin research for a new film by reading that country's poets; Li Bo (Year of the Dragon) and W. B. Yeats (Blest Souls, unproduced).

In 1992, Cimino participated in the Sight & Sound film polls. Held every ten years to select the greatest films of all time, directors were asked to select ten films of their choice. Cimino's choices were:

 * The Leopard (Italy, 1963)
 * They Were Expendable (USA, 1945)
 * Ludwig (Italy/France, 1973)
 * The Searchers (USA, 1956)
 * La Strada (Italy, 1954)
 * Children of Paradise (France, 1945)
 * My Darling Clementine (USA, 1946)
 * La Dolce Vita (Italy, 1960)
 * Rocco and His Brothers (Italy, 1960)
 * Seven Samurai (Japan, 1954)

Themes and style
Cimino's films are often marked by their controversial subject matter and striking visual style. Elements of Cimino's visual sensibility include shooting in Anamorphic widescreen, painterly compositions, jittery tracking shots and wide vista establishing shots that emphasize the Earth's landscape and nature. Cimino's films are also slowly paced, focusing less on story and more on characters, allowing the viewer to observe their nuances and the setting. The subject matter in Cimino's films frequently focuses on aspects of U. S. history and culture, notably disillusionment over the American Dream. Other trademarks include love triangles between main characters, sudden bursts of violence in seemingly tranquil or naturalistic settings and the casting of non-professional actors in supporting roles.

Frequent collaborators
Frequent collaborators of Cimino's included actors Mickey Rourke, Christopher Walken, Jeff Bridges, Clint Eastwood, Geoffrey Lewis, Richard Bauer and Caroline Kava, writers Deric Washburn, Oliver Stone, Thomas McGrath, Rodney Patrick Vaccaro and Raymond Carver, producers Joann Carelli, Dino De Laurentiis and Barry Spikings, cinematographers Vilmos Zsigmond, Alex Thomson and Doug Milsome, composer David Mansfield, and assistant director Brian W. Cook.

Public image
Cimino developed a reputation for giving exaggerated stories about himself, his background, and his filmmaking experiences. "When I'm kidding, I'm serious, and when I'm serious, I'm kidding," said Cimino in a 2002 interview. "I am not who I am, and I am who I am not."

Following The Sunchaser, Cimino became more reclusive; spending the majority of the last two decades of his life retreating to his home in Beverly Hills where he wrote incessantly: "Books and screenplays. Sometimes songs." He even claimed he kept track of how many pages he wrote day-to-day, "One page one day, five the next. Sometimes zero. Those are the hard days because you still have to get your butt in the chair and keep writing." Cimino's agent, Mike Wise, called him "the Howard Hughes of Hollywood."

Due to his reclusive habits and fluctuations in his physical appearance, Cimino had several rumors circulating him over the course of his life, with people claiming he had dressed in drag, gotten plastic surgery, and even gone through a sex change.

Beginning in 1997, a columnist with Variety magazine devoted an item to dispelling unspecified "reports" that he had changed his name to "Michelle" and his gender via surgery. Cimino explained that he had not had nor intended to have a sex change and that he was not a cross-dresser, suspecting a former girlfriend of his to have started the rumors. His change in appearance was attributed to weight fluctuations, saying in 2002 that he'd gained weight while editing The Sunchaser; "They're always ordering food. You're in there [the editing room] for twenty hours a day, seven days a week, getting no sleep." With the help of Sunchaser star Woody Harrelson, Cimino began fasting and lost roughly eighty pounds: "He had me on fat-free foods, yoga, etcetera... I am now back to my college wrestling weight," said Cimino.

As writer
Original screenplays (unpublished)

 * Kef (with Thomas McGrath)
 * Paradise (with Thomas McGrath)
 * Perfect Strangers
 * Proud Dreamer (with James Toback)
 * Head of the Dragon
 * Reel to Reel (with Steven Spielberg and Gary David Goldberg)
 * Purple Lake (with Raymond Carver)
 * Untitled Transcontinental Railroad epic
 * Blest Souls (with Robert Bolt and Eoghan Harris)
 * Heaven Is a Sometime Thing (story by Joann Carelli)
 * Full Circle (story by John Woo)
 * Cream Rises

license: Creative Commons - Attribution Share-Alike - https://creativecommons.org/licenses/by-sa/4.0/

title: Michael Cimino