actors-from-massachusetts

"General George Patton once said that he would have given his immortal soul for the medal, and at least two occupants of the White House- Harry Truman and Lyndon Johnson- told recipients they would rather have the medal than be president. Incidentally, when the presentation ceremonies are held at the White House, it is customary for the President- the commander in chief of our Armed Forces- to salute the recipient, who then returns the salute. That tradition extends throughout the chain of command: When a recipient is wearing the Medal of Honor, he is generally the one to be saluted first, regardless of how low his rank may be."

"My first contact with a Medal of Honor recipient didn't take place until 1957, long after I'd returned to civilian life and resumed my career in broadcast journalism. By that time, I was doing a weekly interview show on ABC, and one night the object of my scrutiny was a U.S. Army veteran who'd been getting a lot of controversial attention- as well as the Medal of Honor- for his heroic exploits during World War II. His square name was Charles Kelly, but to those familiar with his story, he was mainly known by his colorful nickname- "Commando" Kelly. (In our interview that night, I called him Chuck.) In introducing Kelly to our viewers, I marveled at his various feats of valor, especially at the Battle of Salerno, where, single-handed, he'd killed 40 German soldiers in a span of 20 minutes. But the controversy about Kelly dealt with his failure to flourish in civilian life. During the postwar years he had tried his hand at a number of jobs and business ventures, and nothing had panned out very well. There were reports that his booze problems had ben at the root of his problems, and we talked about that. And as I would later discover, Kelly was not the only Medal of Honor recupient who had the melancholy experience of going from war hero to washout."

"You go to IMDb and you look at everything you’ve done and go, "Hey, be proud of yourself.""

"I think as my career has gone on, my friends and I have been generating more and more beautiful or poignant moments. That’s not to say that everything we do is genius. But along the way there’s a lot of broken eggshells. There’s a lot of things we’ve said that’s retarded or not funny or goes over the line. That’s what happens when you’re trying to do what we do. And we tend to slant more out of bounds than other people do. So if people get pissed off in the process, that sucks. That’s not a good thing."

"When we win, do not forget that these people want you broke, dead, your kids raped and brainwashed, and they think it's funny"

"Don't worry so much about money. Worry about if people start deciding to kill reporters. That's a quote. For the reason why, you can say I want reporters to know I make more money than them, especially Matt Pearce."

"Hasan Piker I'm coming to kill you, ... no in real life"

"Joan the Woman was the most interesting undertaking from the point of view of the artists and the director in the history of the pictures, I believe. It is entirely different from the spectacle features, as it is essentially drama, with the story always first and most important and the spectacular features secondary, although many critics have more than praised the battles and scenes of pageantry."

"No more conservative or patriarchal figure existed in Hollywood, no one more opposed to communism or any permutation or combination thereof, and no fairer one, no one with a greater sense of decency and justice."

"Cecil B. DeMille, the producer-director of Samson and Delilah, always saw all of Hollywood to find the best people for his spectaculars. So when I got the call, I wasn't all that anxious to come in for the interview from Laguna, where I was living then. I thought, "Well, he's seeing everyone and now it's my turn." Meeting him in his office at Paramount, I found that he had an extensive knowledge of my entire career—that's how thorough he was. When the interview lasted four hours, I knew I was in."

"Only those who day by day are in the midst of motion pictures can really appreciate the wonderful opportunities for extraordinary things which the camera permits, and although we are still more or less in the beginning of things (I do not like to think we have really touched the great springs of the art as yet) we are struggling, working, studying all the time to better the production."

"I loved DeMille and he loved me. We only made Union Pacific together, but we did lots of radio. We got along great."

"Most people never achieve stardom until they've had at least one good, serious siege of the grand passion. It doesn't hurt a career. It helps. Leatrice Joy was a smart, capable girl, she had beauty and talent and everything to make her a star. But she was marking time. Then she fell in love with John Gilbert and married him. It changed her completely. She seemed to bloom and blossom. And this new radiance showed in her work. She went right on to the top."

"I took a cut in salary to work for DeMille; a lot of actors did; he seemed to expect it as a kind of due. There was only one DeMille and there wasn't an actor in the world who didn't want to work for him just once, however short the salary or tall the corn. I could still picture Angela Lansbury coyly running around in chiffon skivvies, letting arrows fly at the back end of a lion skin tacked on a patio wall in Samson and Delilah. I always thought that looked like good fun."

"Actors are born, and every human being is born an actor."

"Motion pictures are visualized thought! Do you grasp how different that is from any other of the great arts? The printed word is reserved to those only who can read the language of the publication; music is for the ear that appreciates harmony (not every ear does that), but motion pictures are the universal language, as comprehensive to the American as to the Japanese, as understandable to the African as to the man in the Arctic. Motion pictures are human nature picturized and human nature is the same the world over in every clime."

"It could be that today's conservative movement remains in thrall to the same narrative that has defined its attitude toward film and the arts for decades. Inspired by feelings of exclusion after Hollywood and the popular culture turned leftward in the '60s and '70s, this narrative has defined the film industry as an irredeemably liberal institution toward which conservatives can only act in opposition—never engagement. Ironically, this narrative ignores the actual history of Hollywood, in which conservatives had a strong presence from the industry's founding in the early 20th century up through the '40s, '50s and into the mid-'60s]. The conservative Hollywood community at that time included such leading directors as Howard Hawks, Frank Capra, and Cecil B. DeMille, and major stars like John Wayne, Clark Gable, and Charlton Heston. These talents often worked side by side with notable Hollywood liberals like directors Billy Wilder, William Wyler, and John Huston, and stars like Humphrey Bogart, Lauren Bacall, and Spencer Tracy. The richness of classic Hollywood cinema is widely regarded as a testament to the ability of these two communities to work together, regardless of political differences. As the younger, more left-leaning "New Hollywood" generation swept into the industry in the late '60s and '70s, this older group of Hollywood conservatives faded away, never to be replaced. Except for a brief period in the '80s when the Reagan Presidency led to a conservative reengagement with film—with popular stars like Clint Eastwood, Sylvester Stallone, and Arnold Schwarzenegger making macho, patriotic action films—conservatives appeared to abandon popular culture altogether. In the wake of this retreat, conservative failure to engage with Hollywood now appears to have been recast by today's East Coast conservative establishment into a generalized opposition toward film and popular culture itself. In the early '90s, conservative film critic Michael Medved codified this oppositional feeling toward Hollywood in his best-selling book Hollywood vs. America."

"This will probably be my last film—it will certainly be my biggest."

"It's not just a good part, it's a great part, but until Miss Goddard passed her screen test as Louvette, I hadn't been able to find a Hollywood actress who both looked it and could play it convincingly. What most of the candidates lacked was imagination."

"This bouquet is not given lightly. I've worked with many of the screen's greatest stars, and, if I were tendering posies merely to strike a popular chord, I should pick one of them. But Tamiroff is so far ahead of the field as a hard-working artist that he easily claims all awards."

"Every year a new lesson is learned, but the one precept that never fails to be true is that a good picture will always be well received by the public. During 1933 particularly, the public displayed shrewd taste in supporting pictures which have been produced with great care and the finest of production materials."

"The phrases, "happy ending" and "unhappy ending" are misnomers. They belong to an era when the public demanded a saccharine finish to every picture, irrespective of whether or not it was logical. Film-goers of 1933 insist upon a new standard in their screen entertainment. They are not particularly concerned about the ending of a picture so long as it is truthful. Naturally, they do not want a preponderance of depressing themes, but I am firmly convinced that they would rather witness a tragic finish that is truthful and logical than a sugar-coated ending that is not. In The Sign of the Cross the problem of bringing the story to a close is one that would have been difficult a few years ago, when the sugary tradition ruled the film industry. But now that the words "happy" and "unhappy" have been deleted from cinema terminology, our task was simplified, and we gave an ending which appeals to logic and intelligence."

"Who can tell what the years of the future will bring to the art of the motion picture in view of the amazing progress of the past few years."

"He reminded me of the prestige gained in playing a major role in a DeMille picture, which was worth far more than the twenty-five thousand he wanted to pay me. I purposely allowed a frown to cross my brow, just to see if he had still more charm to zap me with. But that was it. He paused to wait for my decision. Did I want the part or not? I wanted it, I told him, even though he would be paying me about one-third my usual salary. What he didn't know was that I'd have done the part for nothing."

"Legend rides high with history, but truth follows a lonely trail. I've pursued verity from the museum at Cairo to the smoking tepees of the Cheyennes at Lame Deer, Montana."

"There was an immediate rapport between us, and our relationship was more than director and star; there was a great friendship, and a great mutual respect. I loved the old buzzard. You either hated him or you loved him, there was no half-way measure at all. He liked me because I never "yessed" him, and contrary to popular opinion, DeMille hated yes-men. There were a lot of people around him who were yes-men because he was such a powerful producer-director, but they wouldn't last. He'd always say, "I don't want 50 little DeMilles running around—it's bad enough to have one!""

"Cecil DeMille is a strict disciplinarian, but he is a great man to work with. DeMille, in handling big crowds and thousands of extras, shows a fine insight into human nature. . . Cecil DeMille shows a great interest and keenness in his work, and for months ahead will plan every move in a big scene with the aid of miniature sets and in discussion with his principal stars. If an actor or other player shows attention to his work, and interest and knowledge of his part, Cecil DeMille is anxious to help him in every way; but he resents the player who has no interest."

"Motion pictures are the most important contribution to literature and art since the invention of fiction."

"Sensible married women usually stop acting after the honeymoon—but not their husbands. Young men go on acting parts until they reach maturity, and from there to the grave they're preoccupied with the problem of acting normal. Most men, I'm sorry to say, are "hams" at heart."

"Ladies and Gentlemen: The definition of Total Non Stop Action. The Ace and Undistputed Boss of The Bullet Club. It's our honor as fans and my honor as an opponent to see if he can beat up John Cena one final time. He is the Face that runs the Place. The Phenomenal AJ Styles"

"So, I would do this for free. I just physically can't do this anymore."

"It's been a pleasure serving you all these years. Thank you."

"At times he is extremely abrasive. I know that's kind of his campaign, but I think time will tell, He's already locked up in some controversial business and it certainly doesn't speak proudly for America that the person who sits in the Oval Office is involved in controversy, so that's never a good thing, But time will tell, A man's legacy is defined by time"

""OMNIA DEDI. PRO OMNIBUS GRATIAS AGO" I have given everything. For everything, I give thanks."

"I walk out here every night with "Hustle, Loyalty, Respect" on my sleeve. That is a credo I have adopted from the men and women who defend the freedom of this country. The president has just announced, that we have caught and compromised to a permanent end, Osama Bin Laden. This is something tonight. But I feel damn proud to be an American."

"My name is John Cena. The name I use in the ring is John Cena. My government name is John Cena."

"Tonight: Professional Wrestling destroyed Sports Entertainment."

"Ladies And Gentlemen: He is The Greatest Of All Time. The Never Seen, Seventeen. Gracing His Presence (as a heel)/Celebrating with each and everyone of you (after face turn) tonight in [City and Country/State] One Final Time. The Last Real Champion. John Cena."

"This is a business that’s heavily promulgated by people who have a politically liberal bent. I don’t begrudge them that. I’m a libertarian; frankly, I think my liberalness goes far beyond theirs in a lot of ways. But yeah, we think differently, and maybe that’s cut me out of some things. I don’t care. People know I get along great with all kinds of directors, all kinds of actors. And I tell you, you hire me, I will show up, 24/7, and I will give you 100%. I will help you fix whatever problems come up. You hire me, I’m your boy. It’s just, it’s all about the work. And when that’s done, I am done."

"Staying away from Hollywood didn't take much of an effort, there is a whole world in Los Angeles that's based on maneuvering. You say the right thing in interviews, you say yes to the right events and charities, and if you do it correctly you become someone they talk about. You become a player in the system and you're looked at as a professional, or dedicated, or whatever. You become a part of their thing, and they become part of yours... It's a wild web that can be weaved and there are people who love, love, love to play that game. And I'm not putting it down. But for me, it's just like pulling teeth. I just could never do it."

"When people ask me why I don’t eat meat or any other animal products, I say because they are unhealthy and they are the product of a violent and inhumane industry. Chickens, cows, and pigs in factory farms spend their whole lives in filthy, cramped conditions only to die a prolonged and painful death."

"This is unusual and upsetting but we got some news -- we got some news during the show that -- that Robin Williams has passed away. (some in the audience audibly gasp in disbelief) And by the time we air the -- we tape these shows a few hours early -- and by the time you see this now on TV I'm sure that you'll -- you'll know. I'm sorry to everyone in our studio audience that I'm breaking this news. This is absolutely shocking and -- and -- and horrifying and so upsetting on every level and we're at the end of the show and it just felt like we needed to just acknowledge. Obviously, we don't know much yet. We know that this has happened and we're absolutely stunned."

"Before we end this rodeo, a few things need to be said. There has been a lot of speculation in the press about what I legally can and can't say about NBC. To set the record straight, tonight I am allowed to say anything I want. And what I want to say is this: between my time at Saturday Night Live, the Late Night show, and my brief run here on The Tonight Show, I have worked with NBC for over twenty years. Yes, we have our differences right now and yes, we're going to go our separate ways. But this company has been my home for most of my adult life. I am enormously proud of the work we have done together, and I want to thank NBC for making it all possible. Walking away from The Tonight Show is the hardest thing I have ever had to do. Making this choice has been enormously difficult. This is the best job in the world, I absolutely love doing it, and I have the best staff and crew in the history of the medium. But despite this sense of loss, I really feel this should be a happy moment. Every comedian dreams of hosting The Tonight Show and, for seven months, I got to. I did it my way, with people I love, and I do not regret a second. I've had more good fortune than anyone I know and if our next gig is doing a show in a 7-Eleven parking lot, we'll find a way to make it fun. And finally, I have to say something to our fans. The massive outpouring of support and passion from so many people has been overwhelming. The rallies, the signs, all the goofy, outrageous creativity on the Internet, and the fact that people have traveled long distances and camped out all night in the pouring rain to be in our audience, made a sad situation joyous and inspirational. To all the people watching, I can never thank you enough for your kindness to me and I'll think about it for the rest of my life. All I ask of you is one thing: please don't be cynical. I hate cynicism - it's my least favorite quality and it doesn't lead anywhere. Nobody in life gets exactly what they thought they were going to get. But if you work really hard and you're kind, amazing things will happen. As proof, let’s make an amazing thing happen right now. Here to close out our show, are a few good friends, led by Mr. Will Ferrell…"

"Today I interviewed a squirrel in my backyard and then threw to commercial. Somebody help me."

"I just want to say to the kids out there watching: You can do anything you want in life. Unless Jay Leno wants to do it too."

"Now that this mess is almost behind me – I just have one last request: HBO, when you make the movie about this whole NBC late night fiasco, I’d like to be played by Academy-Award winning actress Tilda Swinton."

"We [artists] ask questions! [...] Questions like "Where are all the Sour Patch Parents?" Questions like "If Mickey's a mouse, and Minnie's a mouse, and Donald's a duck, and Daisy and Goofy-- if they're all animals and they can talk, why is Pluto just a fuckin' dog? Did they just forget to anthropomorphize him, or worse, is Mickey keeping a mentally-handicapped dude as a pet?"

"If every day you play the board game Risk You've probably never taken a risk In your life / And Monopoly has far From a stranglehold on the board game market A little kid died from suffocation When he choked on a game piece from Operation"

"We know, Lord, from John 3:16, that you so loved the world that you sent your only son to die for us. Your only son! But at the same time, we're all your children, so in your eyes, we're a bunch of girls. So help us as we struggle with the temptations of lesbianism. Amen."

"Look at all of Bo's hos, lookin' for a ride on Bo's hose And I spot a little Latino, booty so big, call it "Oprah's ego" We go to it, through it / She says "¡Dios mia, mi amigo!" Pull it out, stick it in your mouth, and I bust in the back of ya "Swallow bitch! There's people starvin' in Africa!""