All Quotes

"I don’t understand writers who have to work at it. I like to play. I’m interested in having fun with ideas, throwing them up in the air like confetti and then running under them."

"I don’t believe in optimism. I believe in optimal behavior. That’s a different thing."

"Our education system has gone to hell. It’s my idea from now on to stop spending money educating children who are sixteen years old. We should put all that money down into kindergarten. Young children have to be taught how to read and write. If children went into the first grade knowing how to read and write, we’d be set for the future, wouldn’t we? We must not let them go into the fourth and fifth grades not knowing how to read. So we must put out books with educational pictures, or use comics to teach children how to read. When I was five years old, my aunt gave me a copy of a book of wonderful fairy tales called Once Upon a Time, and the first fairy tale in the book is “Beauty and the Beast.” That one story taught me how to read and write because I looked at the picture of that beautiful beast, but I so desperately wanted to read about him too."

"In that film Love Story, there’s a line, “Love means never having to say you’re sorry.” That’s the dumbest thing I ever heard. Love means saying you’re sorry every day for some little thing or other."

"Nikos Kazantzakis says, “Live forever.” That’s his social obligation. The Saviors of God celebrates life in the world. Any great work does that for you. All of Dickens says live life at the top of your energy."

"The need for romance is constant, and again, it’s pooh-poohed by intellectuals. As a result they’re going to stunt their kids. You can’t kill a dream. Social obligation has to come from living with some sense of style, high adventure, and romance. It’s like my friend Mr. Electrico. … he was a real man. That was his real name. Circuses and carnivals were always passing through Illinois during my childhood and I was in love with their mystery. One autumn weekend in 1932, when I was twelve years old, the Dill Brothers Combined Shows came to town. One of the performers was Mr. Electrico. He sat in an electric chair. A stagehand pulled a switch and he was charged with fifty thousand volts of pure electricity. Lightning flashed in his eyes and his hair stood on end. … Mr. Electrico was a beautiful man, see, because he knew that he had a little weird kid there who was twelve years old and wanted lots of things. We walked along the shore of Lake Michigan and he treated me like a grown-up. I talked my big philosophies and he talked his little ones. Then we went out and sat on the dunes near the lake and all of a sudden he leaned over and said, I’m glad you’re back in my life. I said, What do you mean? I don’t know you. He said, You were my best friend outside of Paris in 1918. You were wounded in the Ardennes and you died in my arms there. I’m glad you’re back in the world. You have a different face, a different name, but the soul shining out of your face is the same as my friend. Welcome back. Now why did he say that? Explain that to me, why? Maybe he had a dead son, maybe he had no sons, maybe he was lonely, maybe he was an ironical jokester. Who knows? It could be that he saw the intensity with which I live. Every once in a while at a book signing I see young boys and girls who are so full of fire that it shines out of their face and you pay more attention to that. Maybe that’s what attracted him. When I left the carnival that day I stood by the carousel and I watched the horses running around and around to the music of “Beautiful Ohio,” and I cried. Tears streamed down my cheeks. I knew something important had happened to me that day because of Mr. Electrico. I felt changed. He gave me importance, immortality, a mystical gift. My life was turned around completely. It makes me cold all over to think about it, but I went home and within days I started to write. I’ve never stopped. Seventy-seven years ago, and I’ve remembered it perfectly. I went back and saw him that night. He sat in the chair with his sword, they pulled the switch, and his hair stood up. He reached out with his sword and touched everyone in the front row, boys and girls, men and women, with the electricity that sizzled from the sword. When he came to me, he touched me on the brow, and on the nose, and on the chin, and he said to me, in a whisper, “Live forever.” And I decided to."

"If they give you ruled paper, write the other way."

"There are worse crimes than burning books. One of them is not reading them."

"He describes himself as a "delicatessen religionist." He's inspired by Eastern and Western religions. The center of his faith, though, is love. Everything — the reason he decided to write his first short story at 12; his 56-year marriage to his muse and late wife, Maggie; his friendships with everyone from Walt Disney to Alfred Hitchcock — is based on love. Bradbury is in love with love."

"Bradbury has been called a Unitarian, but he rejects that term. He dislikes labels of any kind. "I'm a Zen Buddhist if I would describe myself," he says. "I don't think about what I do. I do it. That's Buddhism. I jump off the cliff and build my wings on the way down." … Allusions to Christianity are common in his stories, but Bradbury doesn't define himself as a Christian. He considers Jesus a wise prophet, like Buddha and Confucius… "Jesus is a remarkable person … He was on his way to becoming Christ, and he made it.""

"Ladies and gentlemen, a man who needs no introduction … Probably no other writer in this book could I get away with introducing in that way. But who in the civilized, book-reading world doesn't know the name Ray Bradbury? When the time came to write a few words to preface Ray, I suddenly was struck with the impossibility of the act. There have been whole treatises written on Bradbury, his poetic images, his humanity, his blue period, his chrome period … who the hell was I to write about him? Well, I'm a Bradbury fan, and that's not bad for openers. … Ray Bradbury is very probably better than we ever imagined him to be in our wildest promotion of him as the first sf writer to escape the ghetto and win approbation from such as Isherwood, Wilder, Fadiman, Algren, Gilbert Highet, Graham Greene, Ingmar Bergman, Francois Truffault and Bertrand Russell, for God's sake! Let's face it, fellow sf readers, we've been living off Ray Bradbury's success for twenty years. Every time we try to hype some non-believer into accepting sf and fantasy as legitimate literature, we refer him or her to the works of Ray Bradbury. Who the hell else have we produced who has approached the level of Bradbury for general acceptance? I mean, there's a Viking Portable Library edition of RAY BRADBURY. Sure, Arthur C. Clarke and Isaac Asimov are well-known and much-beloved, but if you go out on the street and buttonhole the average shmendrik, and ask him to name a dozen famous American writers, if he isn't a dullard who'd name Erich Segal and Leon Uris and Jacqueline Whatshername, he'll rattle off Hemingway, Steinbeck, Mickey Spillane, maybe Faulkner, and very probably Bradbury. That's a load of ego-boost for all of us, and it's about time someone said it. When we do the conversion bit with scoffers, we whirl them over to the meager sf racks in most bookstores and we may find no Delany, no Lafferty, no Knight or Disch or Dickson, but by God we always find The Martian Chronicles. And we say, "Here try this. You'll love it." … I mean come on, all you smartass literary cynics who make points off other men's careers, can you ever really forget that thing that called to the foghorn from the sea? … I'll just tag out by saying Ray Bradbury is a man who has written some 300 stories …wrote the screenplay for John Huston's production of Moby Dick… wrote a "space age cantata" dealing with the possible images of Christ on other worlds, Christus Apollo, music by Jerry Goldsmith, and he is a very good, kind, committed man who was in no small part responsible for getting LBJ booted out of office. And he's the only man whose poetry I would have included in this, a book of stories. Well, maybe Robert Graves …"

"I knew Ray Bradbury off and on since 1980 when, as a student at the American Film Institute Center, I was asked if I could pick him up and bring him to school for his seminar. You see, Ray never learned how to drive. But he knew very well how to give encouragement and enthusiasm to anyone."

"He was kind, and gentle, with that midwestern niceness that’s a positive thing rather than an absence of character."

"Ray Bradbury was never one of my favorite authors: He’s a little soft, kind of romantic, and, worst of all, moralizing. But The Martian Chronicles is a great book."

"In the science fiction genre, I am a fan of Ray Bradbury and Isaac Asimov."

"(Whom do you consider your literary heroes?) Toni Morrison, Grace Paley, Emily Brontë, Ray Bradbury, all for different reasons, all adored...for me, the greatest discovery of my childhood reading life: Ray Bradbury...Ray became my literary father. He was the one who taught me about the world, and he was a great teacher. I think every 12-year-old should read him (and every adult as well, but 12-year-olds are so much better readers). “Fahrenheit 451” is an American classic and a work of genius, and “Something Wicked This Way Comes” is my favorite of his books, small-town magic. I loved them all and still do. I admired Ray as a writer and a person and wish he was still here with us."

"I spent one entire summer reading Ray Bradbury...I remained in Ray Bradbury's world for as long as possible. It was a place where it was possible to recognize good from evil, darkness from light. I was a cynical kid, and I didn't have much faith in the world, but I trusted Ray Bradbury. I took everything he said personally. (p 33)"

"Ray Bradbury...writes with such breathless enthusiasm and from an obvious appreciation of beauty."

"I think Ray Bradbury's The Martian Chronicles is one of the most extraordinary works of fantasy ever written in the English language."

"("How much do you have to know about science to write science fiction?") It is good to know something about at least one field, so that you know how scientists think and how science is done, if you're going to have a any science or even any pseudo-science in your stories. But there is a requirement: that a science fiction writer be interested in science. He may hate it; I think Ray Bradbury hates it. I know he hates technology, and I rather think he hates science. But he's interested in it. It's got down into his subconscious and it comes up in the form of horrors and monsters. But he takes it seriously."

"Bradbury's Martian Chronicles, despite its incoherencies, is a lovely, enduring book."

"The guy keeps writing about Jesus, but he doesn't consider himself a Christian … He says faith is necessary but that we should accept the fact that when it comes to God, none of us know anything."

"From the wild Irish slums of the 19th century Eastern seaboard, to the riot-torn suburbs of Los Angeles, there is one unmistakable lesson in American history; a community that allows a large number of men to grow up in broken families, dominated by women, never acquiring any stable relationship to male authority, never acquiring any set of rational expectations about the future -- that community asks for and gets chaos. Crime, violence, unrest, disorder -- most particularly the furious, unrestrained lashing out at the whole social structure -- that is not only to be expected; it is very near to inevitable. And it is richly deserved."

"The time may have come when the issue of race could benefit from a period of 'benign neglect.' The subject has been too much talked about. The forum has been too much taken over to hysterics, paranoids, and boodlers on all sides. We need a period in which Negro progress continues and racial rhetoric fades."

"[T]he nature of the new world system was not so different from the old. It was for the moment more stable, but a reasonable forecast would be that Africa in particular had a century of border wars ahead of it. On the other hand, such was the power of the anticolonial idea that great powers from outside a region had relatively little influence unless they were prepared to use force. China altogether backed Fretilin in Timor, and lost. In Spanish Sahara, Russia just as completely backed Algeria, and its front, known as Polisario, and lost. In both instances the United States wished things to turn out as they did, and worked to bring this about. The Department of State desired that the United Nations prove utterly ineffective in whatever measures it undertook. This task was given to me, and I carried it forward with not inconsiderable success."

"The institution of the family is decisive in determining not only if a person has the capacity to love another individual but in the larger social sense whether he is capable of loving his fellow men collectively. The whole of society rests on this foundation for stability, understanding and social peace."

"A commonplace of political rhetoric has it that the quality of a civilization may be measured by how it cares for its elderly. Just as surely, the future of a society may be forecast by how it cares for its young."

"The mudslinging has begun."

"A case can be made . . . that secrecy is for losers. For people who don't realize how important information really is. The Soviet Union realized this too late. Openness is now a singular, and singularly American, advantage. We put it in peril by poking along in a mode of an age now past. It is time to dismantle government secrecy, this most pervasive of Cold War-era regulations. It is time to begin building the supports for the era of openness that is already upon us."

"The central conservative truth is that it is culture, not politics, that determines the success of a society. The central liberal truth is that politics can change a culture and save it from itself."

"The most difficult fact for white Americans to understand is that in these terms the circumstances of the Negro American community in recent years has probably been getting worse, not better. Indices of dollars of income, standards of living, and years of education deceive. The gap between the Negro and most other groups in American society is widening. The fundamental problem, in which this is most clearly the case, is that of family structure. The evidence — not final, but powerfully persuasive — is that the Negro family in the urban ghettos is crumbling. A middle class group has managed to save itself, but for vast numbers of the unskilled, poorly educated city working class the fabric of conventional social relationships has all but disintegrated. There are indications that the situation may have been arrested in the past few years, but the general post war trend is unmistakable. So long as this situation persists, the cycle of poverty and disadvantage will continue to repeat itself."

"The policy of the United States is to bring the Negro American to full and equal sharing in the responsibilities and rewards of citizenship. To this end, the programs of the Federal government bearing on this objective shall be designed to have the effect, directly or indirectly, of enhancing the stability and resources of the Negro American family."

"Everyone is entitled to his own opinion, but not his own facts."

"Political society wants things simple. Political scientists know them to be complex... One could argue that, in part, the leftist impulse is so conspicuous among the educated and well-to-do precisely because they are exposed to more information, and are accordingly forced to choose between living with the strains of complexity, or lapsing into simplism."

"I don't think there's any point in being Irish if you don't know that the world is going to break your heart eventually. I guess that we thought he had a little more time."

"What is not discussed, will not be advanced."

"The new phone book's here! The new phone book's here! This is the kind of spontaneous publicity I need. My name in print. That really makes somebody. Things are going to start happening to me now!"

"All of a sudden I had to remember some words that Marlowe had told me over fifteen years ago: "Dead men don't wear plaid." Hmm... Dead men don't wear plaid. I still don't know what it means."

"You kill me and I'll see that you never work in this town again."

"A kiss may not be the truth, but it is what we wish were true."

"Why is it we don't always recognize the moment when love begins, but we always know when it ends?"

"Hosting the Oscars is like making love to a beautiful woman — it's something I only get to do when Billy Crystal's out of town."

"I handed in a script last year and the studio didn't change one word. The word they didn't change was on page 87."

"It was so sweet backstage, you should have seen it — The Teamsters were helping Michael Moore into the trunk of his limo."

"People come up to me and say "Steve, what is film editing?" And I say "How should I know? You're the director.""

"You know, a lot of people come to me and they say: "Steve, how can you be so fucking funny?" There's a secret to it, it's no big deal. Before I go out, I put a slice of bologna in each of my shoes. So when I'm on stage, I feel funny."

"I like a woman with a head on her shoulders. I hate necks."

"Now let's repeat the non-conformists' oath: I promise to be different! [audience repeats] I promise to be unique! [audience repeats] I promise not to repeat things other people say! [audience repeats, laughs] Good!"

"It's so hard to believe in anything anymore, you know what I mean? It's like, religion, you really can't take it seriously, 'cause it seems so mythological, and seems so arbitrary; and then on the other hand, science is just pure empiricism, and by virtue of its method, it excludes metaphysics. — I guess I wouldn't believe in anything if it weren't for my lucky astrology mood watch. [Audience member]: What's your mood watch say? Martin: Yeah, I remember when I had my first beer."

"I used to smoke marijuana. But I'll tell you something: I would only smoke it in the late evening. Oh, occasionally the early evening, but usually the late evening — or the mid-evening. Just the early evening, midevening and late evening. Occasionally, early afternoon, early mid-afternoon, or perhaps the late-midafternoon. Oh, sometimes the early-mid-late-early morning … But never at dusk! Never at dusk, I would never do that."