Film Producers From The United States

"Four guys could get together and make their own movie, in a year, but nobody does it 'cause they got bills to pay. What I'm saying is, that's what I would do, if I was young. I wouldn't even get a job. I'd get a couple of computers and a bunch of guys, we'd eat crap for a year, millionaires the next year if we did a good film. It's so extraordinary. Instead of crying about getting a job at Disney or "things are falling apart", things the old animators were doing when I was a kid, "it's all crumbling!" It's not crumbling, you're crumbling! You got these computers that could do this stuff for nothing! What do you do with it? You try to get a job for some asshole studio. It's so dumb."

"When I had my own company on Traffic and Coonskin, all metaphors were able to get to the screen clearly. In Cool World, with the producer and Paramount watching me carefully to make sure I was in good taste, I instinctively poured stuff into the picture that I wanted to talk about. But when you force stuff, it's not really very clear. But, I have a great love for Max Fleischer, especially some of his Black & White Betty Boops with their strange Cab Calloway and Louis Armstrong black folk tale jazz hipness that part of Cool World was a homage in style to those films and that style of cartooning. The Grim Reaper is right out of a Max Fleischer cartoon or old Terrytoons, which is why I hired and love Milton Knight the artist. He understands totally the Uncle Remus fable like qualities behind Fleischer and Terrytoons. Milton Knight is probably the purest artist of that style in the business. He has a hard time because studios think he is old fashioned...but that's the point."

"Did I have a responsibility to discuss issues? Absolutely. Bobby Dylan was discussing issues – Disney wasn’t."

"Sick of Hollywood, tired of fighting and selling out as an artist. I don't believe anyone should do the same thing for the rest of his life. We get a very short time on this planet. Challenging oneself is very important. It's not that I couldn't make other great animated films, but I'd done what I wanted to do, which was make animation an adult medium, if one wanted it to be. And I'd proven to myself that it could work, and it was time to move on to something else. When I sell a painting, I get very excited. I need one person to like what I do, not a million. It's a different structure here. Plus the Hollywood thing. I mean, Hollywood is no place to grow up, no place to live. It's no place to have any friends, no place to enjoy life. It's a disgusting, horrible, craze-driven town. It's only how much do you make, or how fancy a car you have, that determines your status there. And everyone's lying so much that they don't even know they're lying anymore. There's no reality to Hollywood. The fees they pay directors are obnoxious, the money they spend on movies could feed entire starving African... I mean, fuck 'em. I made a few bucks and got out. I don't want to spend the rest of my life with those people. They're disgusting people, and you can quote me on that. There's a lot of great talent there, but it's no place I wanted to spend much time. I'd rather spend time with Rembrandt and Goya at home. They're better company than those schmucks who never read Lord Of The Rings."

"It was offered to me. When Spielberg says jump, bitches say how high?"

"My thoughts on veganism are that it’s a wonderful thing to do. I just can’t do it. I tried. Casey Affleck and I made a movie in the desert in Argentina like 12 years ago and he’s a vegan and I tried to eat vegan and I lasted like two days. I just, I literally can’t do it. And I know…that might be bad."

"I think there is really good chance that Sarah Palin could be president and I think that is a scary thing, because I don't know anything about her. I don't think in eight weeks I'm going to know anything about her. I know she was a mayor of a really, really small town, and she is governor of Alaska for less than two years. I just don't understand. I think the pick was made for political purposes, but in terms of governance it is a disaster. You do the actuary tables, you know there is one out of three chance or more that McCain doesn't survive his first term, and it will be President Palin. It really … I was talking about it earlier, it is like a really bad Disney movie, you know. The hockey mom, I'm just a hockey mom from Alaska, and she is the president. She is like facing down Vladimir Putin and using the folksy stuff she learned at the hockey rink. You know it is absurd. It is totally absurd, and I don't understand why more people aren't talking about how absurd it is. It is a really terrifying possibility. The fact that we have gotten this far, and with that close this being a reality is crazy. I need to know if she really thinks dinosaurs were here 4,000 years ago. That's an important. … I want to know that. I really do. Because she's going to have the nuclear codes, you know. I want to know if she really thinks dinosaurs were here 4,000 years ago or whether she banned books or tried to ban books. I mean, we can't have that."

"I mean, I did ride the Paris subway in an attempt to get pick-pocketed in order to see how exactly they did it. My buddy was videoing the whole thing. No one picked my pocket. We got bolder and bolder as we went, but it didn’t pan out for us."

"I'm sick of answering this fucking question. I'm a Republican only as far as I want a smaller government, I want less government intrusion. I want them to stop shitting on my money and your money and tax dollars that we give 50 percent of... every year. I want them to be fiscally responsible and I want these goddamn lobbyists out of Washington. Do that and I'll say I'm a Republican... I hate the government, OK? I'm apolitical. Write that down. I'm not a Republican."

"If you take one out or change one law, then why wouldn’t they take all your rights away from you?"

"You can't undo the past but you can certainly not repeat it."

"I'm staggered by the question of what it's like to be a multimillionaire. I always have to remind myself that I am."

"This is the same fight the US fought 60 years ago"

"This is the war on terrorism; it's worth fighting for."

"Paradigms, especially old ones, die harder than Bruce Willis."

"If you catch him, just give me four seconds with Saddam Hussein."

"I wanted to sign up and fight with you guys, but they told me I was too old."

"The terrorists today are much the same as those we fought in WW II."

"If one more person tells me this is just like old times, I swear I'll jump out the window."

"We used to get arrested every other week — that is, the old man would get arrested."

"The funny thing about our act is that dad gets the worst of it, although I'm the one who apparently receives the bruises … the secret is in landing limp and breaking the fall with a foot or a hand. It's a knack. I started so young that landing right is second nature with me. Several times I'd have been killed if I hadn't been able to land like a cat. Imitators of our act don't last long, because they can't stand the treatment."

"A picture without falls is as bad as Niagara in the same fix."

"Marriage is fine as an institution, but bad as a habit."

"Our hero came from Nowhere — he wasn't going Anywhere and he got kicked off Somewhere."

"Charlie Chaplin and I would have a friendly contest: Who could do the feature film with the least subtitles?"

"One who never smiled, carried a face as still and sad as a daguerreotype through some of the most preposterously ingenious and visually satisfying comedy ever invented. That was Buster Keaton."

"Perhaps because ‘dry’ comedy is so much more rare and odd than ‘dry’ wit, there are people that never much cared for Keaton. Those who do cannot care mildly."

"He was by his whole style and nature so much the most deeply "silent" of the silent comedians that even a smile was as deafeningly out of key as a yell. In a way his pictures are like a transcendent juggling act in which it seems that the whole universe is in exquisite flying motion and the one point of repose is the juggler’s effortless, uninterested face."

"No other comedian could do as much with the dead-pan. He used this great, sad, motionless face to suggest various related things; a one track mind near the track’s end of pure insanity; mulish imperturbability under the wildest of circumstances; how dead a human being can get and still be alive; an awe-inspiring sort of patience and power to endure, proper to granite but uncanny in flesh and blood."

"The older Keaton got, the more one could see eternity in his look."

"The screen was just a white sheet. They had this flickering machine. That was the first time I saw this angel with a white face and these beautiful eyes. I knew this was something special. It was the first time I saw Keaton. He wore a flat pancake of a hat, and I just couldn't believe the man's grace."

"I could tell you that those wonderful stories were 90% Buster's... I was often ashamed to take the money, much less the credit."

"What a creative genius — what an inventor… A guy like that, you just sit back and say, okay, I'll never get there!"

"I just want that one day, when I retire, that people still remember me like they remember Buster. I really want someone to respect me the way they respect Buster."

"Watch his beautiful, compact body as it pirouettes or pretzels in tortured permutations or, even more elegantly, stands in repose as everything goes crazy around it. Watch his mind as it contemplates a hostile universe whose violent whims Buster understands, withstands and, miraculously, tames. Watch his camera taking his picture (Keaton directed or supervised all his best films); it is as cool as the star it captured in its glass... The medium was still in its infancy; comics were pioneering the craft of making people laugh at moving images. Keaton, it turns out, knew it all — intuitively."

"There are moments in many of his movies that are just poetic... In doing silent movies, no one had done this yet!"

"For me its Buster Keaton's face, with maybe his little hat on... It's being able to look into his eyes and see that sad face."

"He was doing stuff that was surreal."

"It's said that Chaplin wanted you to like him, but Keaton didn't care. I think he cared, but was too proud to ask. His films avoid the pathos and sentiment of the Chaplin pictures, and usually feature a jaunty young man who sees an objective and goes for it in the face of the most daunting obstacles. Buster survives tornados, waterfalls, avalanches of boulders, and falls from great heights, and never pauses to take a bow: He has his eye on his goal. And his movies, seen as a group, are like a sustained act of optimism in the face of adversity; surprising, how without asking, he earns our admiration and tenderness. Because he was funny, because he wore a porkpie had, Keaton's physical skills are often undervalued … no silent star did more dangerous stunts than Buster Keaton. Instead of using doubles, he himself doubled for his actors, doing their stunts as well as his own."

"Another 'great,' and I use that word very carefully, not the way Milton Berle uses it. One of the reasons I love Buster so much is because he lives comedy as well as practices it. Some of his things are better than Chaplin's."

"With his dark, sensitive looks, his face in repose evoking years of quiet contemplation, he resembled a mixture of Buddhist monk and fashion model. He offered the ideal face and acting style for motion pictures, proving less is more. He would become a master of knowing when to do nothing at all."

"Maybe the trouble is that modern comics strive too hard to be sophisticated and knowing. What we've lost over the years is innocence and, as Keaton and company prove, innocence is an integral part of comedy."

"Buster Keaton... will be around forever, because it's unlikely that human beings will ever go out-of-date the way special effects do. Keaton running and clambering onto a moving Civil War train in The General is infinitely more exciting than Christian Slater jumping from a helicopter onto a speeding locomotive in Broken Arrow because what Keaton does is real, and the camera captures and preserves his feats for posterity. In Broken Arrow we never see Slater (or the stuntman, for that matter) leaping from the helicopter to the train. Instead there are several cuts, and we must suspend our disbelief and assume that the feat has been accomplished. Which means that it's no feat at all."

"What Keaton did physically, is actually quite startling when you discover that he did all of his own stunts… The famous one is when the house falls. He had to stand on a mark. I'm told it was a nail — if he moved an inch to one side he would have been crushed to death."

"I hate Tom Cruise. First of all, he’s always smiling. No 5' 8" man, not even one who lives on a diet of Ritalin and gin, is happy like that all the time. He’s always got this shit-eating grin on his face, like he just got a note from his managers telling him that Mimi Rogers and Nicole Kidman are extending their confidentiality agreements. Second, in TV interviews Tom laughs inappropriately and much too vociferously at non-humorous declarative statements, which is ironic because in real life he can’t take a fucking joke at all."

"The real movie stars were Humphrey Bogart, Lauren Bacall, Spencer Tracy, Montgomery Clift. How could I put myself in the same category as Clark Gable? Tom Cruise is a great movie star. Do I consider myself a movie star? I consider myself a guy with a good job, an interesting job."

"When you talk about a great actor, you're not talking about Tom Cruise."

"That's laughable to me. That stuff's laughable."

"But even when I started out with Risky Business and Top Gun came out, there was the paparazzi. You knew them, and I could go up to them and say, 'Give me a break tonight. I'll give you the shots tomorrow'."

"I believe in God. … There is no way you can be up here [in the Rocky Mountains] and think that there isn't a God."