Top 81 Quotes & Sayings by Tim Matheson

I have a paper, pencil, and ink sketch for a Mickey Mouse cartoon short entitled 'Mickey's Garden' from 1935.

I went to the prom with a girlfriend of my sister's, a platonic date.

I like real stories.

I like thrillers. That's a genre that I'm really taken with. I love Hitchcock, that thriller style. I'm a student of it.

If I was asked to do a film that was just trying to sell a political point of view or religious point of view, I wouldn't do that because that's a bad script.

When you're the president, there's tremendous respect, and everybody goes out of their way respecting you and honoring you... it can be a trap. Nobody says 'Boo' to you, and nobody tells you you're wrong, hardly, if you have the wrong people around you.

In my experience, I have learned that there is rarely the perfect man for the perfect job, but Reagan was born to play the role of president. He was an inspirational leader when the country really needed it.

'Animal House' was sort of the first real, contemporary, youthful voice of the baby boom generation. It spoke to that audience, and it spoke to that part of me which was saying, 'Out with the old, in with the new.'

My parents were going through a divorce, and I used to go spend all weekend at the movies to get away from it all. There was something about the sameness of the movies. It was a place for me to go to express my emotions, you know, and let it out.

Working with Lucille Ball was just a master class in how to do comedy.

I enjoy making feature films, but I'd rather be in a good TV series than mediocre movies.

When I was a kid, at Disneyland, they used to sell Animation Cels for $5.00 at a Fantasyland store. They were called Courvoisier Cels. I was too young to be aware of just how cool that really was.

Anything is better than sitting around waiting for the right movie to come along. I lose my edge when I'm sitting around the pool not working.

Reagan was the conservative Franklin Delano Roosevelt.

I'm as lame as all dads are.

I love Sam Raimi. 'Evil Dead 2' is one of my favorite films. It's one of the best cheaper horror films I've ever seen. Horror films and suspense films can be made on a low budget without big stars and be very effective.

Rod Lurie is one of the most wonderful directors I have had the pleasure to work with. He shoots like Clint Eastwood: no fuss. When he gets it, he knows it - one or two takes.

I've played historical characters before, and I think the trap of all of them is if you try to do an impression. If that's what you're working on when you're doing a scene, then your focus is on the wrong thing.

I always fall in love with every character I play.

I was born and raised in L.A. My father was born and raised in L.A. So we're old hands here.

I always wanted to be an actor. I was one of those lucky kids - or cursed kids - who always knew what he wanted to do.

You know, I'm a big comic book fan. As a kid I used to collect them until there was a horrible mudslide in Hollywood and I lost my collection, but I was also at an early age the voice of 'Jonny Quest;' it was a cartoon; so I am kind of a latent fan boy.

With comedy, you really want to work things out beforehand.

I was directing as a kid in movies, and that was always my strongest interest. When I was under contract at Universal, I conned an editing room out of them and spent my money to rent a camera and shoot film and make some movies.

My life honestly didn't start until I got married and had kids.

Vice president is the bridesmaid, and nobody cares about you. Nobody wants you. You're just in the way. You're there to play a subsidiary role. You're like the middle child or the poor relation.

Acting requires emotional flexibility and demands, and directing is more cerebral and managerial and a tactical kind of thing.

For if you do, then shouldn't we blame the whole fraternity system? And if the whole fraternity system is guilty, then isn't this an indictment of our educational institutions in general? I put it to you, Greg - isn't this an indictment of our entire American society?

The basis of Ronald Reagan was his humanity. I might not have agreed with his politics, but my research - all I read about him and by him - was that he was revered because he had a big heart. He was very religious and sincere. He believed that one spoke truths because, otherwise, people would know you were lying. None of that even applies to Trump.

I love J. F. K. My mother had been a worker on his campaign and adored him.

For me, all collecting must be done out of the love of the art. That being said, investment knowledge is absolutely mandatory so that you are really buying what you think you are buying.

Ronald Reagan was the Governor of California. He had earned the right to be considered for President of the United States. You learn a lot about a person by the way they have served. None of this applies to Trump. There's no disclosure with him. I just think the man is a very troubled, emotional mess.

I love JFK. My mother had been a worker on his campaign and adored him.

I kept thinking that with all those first jobs, "This is the beginning of something!" And then nothing would happen. That's the real Hollywood.

Whenever I study a genre of film-making, Steve Spielberg is the first guy I go to. Even Catch Me If You Can, which is a very lightweight kind of thing, if you just look at the economy of the way he designs his shots and works around actors, the craft is amazing.

We wanted to make Tucker's Witch just more human and playful, because I don't think we see enough playfulness between characters on TV. It's like, "Who really gives a damn about two detectives on a case?" The sillier we went, the better it worked.

Steven's Spielberg is one of the most visually talented and character-oriented directors I've ever worked with. And I learn from him every time I watch one of his movies. Good or bad - and he has made some awful movies - they're never uninteresting. He's made four or five of the greatest movies of all time. Perfect movies, like E.T. or Schindler's List or Saving Private Ryan.

I had read the Animal House script, and by hook and crook, I finally got an audition. It was a great one. John Landis followed me out into the hallway afterward and said, "I've never done this before, but you've got the job. Now don't tell anyone!" I've never had a director do that. It was one of those Hollywood-dream-come-true stories. They saw me as a surfer or cowboy, not a preppie, but someone begged and borrowed me an audition, and I went in and got it.

John Belushi infused Animal House with this spirit of guerilla filmmaking. John Landis came from that world too, and all the National Lampoon writers were from that world. It was just chaos on film. Controlled chaos, though. We stayed very close to the script. It was a very formal kind of movie, if you look at it. Formally photographed and structured, with certain elements of improv.

Chevy Chase had been a bad boy with a drug problem, and had never really realized his potential. Fletch was the first movie he sort of straightened up on. And Michael Ritchie was Harvard-educated, 6'6", a brilliant director and political thinker. He was the guy the studio thought could handle Chevy, and keep him in check. And he could.

Tucker's Witch was the first television I'd done in a while. It was just before Moonlighting, and just before you could get a little more outrageous on TV. We had a great premise.

I read Animal House and I said, "I will burn down a house to be in this. I have to be in this movie." I read 1941 and I went, "Well, if Steven Spielberg likes it..." But it just wasn't on the page. It was a very big, unwieldy thing, and there were so many characters. It was fun to shoot, but I didn't know what the core of it was.

I love John F. Kennedy. My mother had been a worker on his campaign and adored him. I was just a kid when he was around. I did a lot of preparation, a lot of research. I can't do him... I sort of get a slight Boston accent, and I tried to get his rhythm. My only fear was that I was too old to play him, because I was much older than he was when he died, so I was concerned about that. But it was one of those, "Oh what the hell, I'm doing this. It's a great part, and I'm going for it."

The great thing about theater is the doing it again and again and again.

I understood the workmanlike quality of a good stand-up. They all have this. There's a technique for everything you do. But boy, it's tough, 'cause there ain't anybody else out there but you.

The funny thing about The West Wing is - and I don't know what Aaron Sorkin says about it - but I'm convinced it was a comedy. It's a very intellectual and cerebral comedy, but it was SportsNight in the White House. It had an energy and a vitality and an intelligence and a passion that's rare. And it was extremely difficult to do, because they were so demanding about the dialogue.

I'll never forget John Heard doing Shakespeare In The Park with Raul Julia and Richard Dreyfuss. It was 30 years ago, I guess. It was Othello, and John Heard played Cassio, and while everyone else was "Acting!" Heard came on talking normal, and everyone in the audience was leaning in to follow him. I wasn't doing that in Bus Stop. I think in that performance, I was putting it out a little too much.

I grew up on a set. The guys I hung around with were crew guys: the camera department, the prop guys. I was like the third kid through the door when I was a kid actor on Leave It To Beaver. I was always one of five guys who would have a couple lines. I was a journeymen actor in my first career, so I was appreciative of the journeymen on the set.

I'd been working on more traditional movie sets and TV shows at Universal. All of a sudden, here we're on location in Animal House, and it's down and dirty and quick. It was the way the new commercial world was shooting; the way the indie world was shooting. These were lighter, faster cameras. It was a generational change.

To me, as a director and an actor, that's the main thing. "What's the heart of this story? What's the humanity of this story? And if the movie doesn't have it, then why am I watching it?" Even if it's a silly comedy, like Superbad or Knocked Up - Judd Apatow, I love, because he's all about heart. The humor comes out of the humanity.

I'd come up with one leg in theater, but never my first leg. I loved the camera too much.

When I worked with Chevy Chase, Michael Ritchie would say, "Just ad lib and try to break me up. Just insult me. Anything." When we were doing his close-up, or when my back was to the camera, I would come up with jokes or quips or anything, to get a real reaction out of him. He was smart enough to know that was gold. So it was great fun working with him and Michael, and getting to see how the two worked together. I think Fletch and Clark Griswold were Chevy's two best roles. He's so incredibly talented and still vastly underused.

Life has its ups and downs, so to expect otherwise is setting yourself up for disappointment.

As a director, I know everybody's job, and I know how to do it. I can smell bullshit when someone's telling me it can't be done, because I've seen it done a hundred thousand times.

There is something about the vocal quality of the actors who can really do it. Jim Burrows, the great sitcom director who directed Will & Grace and Cheers, when an actor comes in to audition for him, he never looks at them. He just listens. Because funny is funny. You can be fooled by the eye, but if your performance is funny to the ear, it will be funny.

Sam Kinison was one of the most compulsive people I'd ever seen. James Belushi was that way, and Chris Farley was that way. He was incredibly talented and made me laugh so hard, and there was nothing he wouldn't say. Such a unique, amazing, cynical, realistic, but still optimistic look at life he had. It was great fun to get to know him.

I love horror films. And I like chick flicks! I like to approach the different genres of moviemaking and explore them. And you get a little better the more you do them.

As an actor and a director, I always let my actors go... assuming they have good ideas.

Funny is funny. You can be fooled by the eye, but if your performance is funny to the ear, it will be funny. I think it's that if you don't have the visual, you have to infuse the full personality into the voice.

Meeting Jerry Mathers I remember thinking, "This is it, man. This is the Hollywood life! I'm an actor and I'm going to Jerry's party. This is how it begins!" I was 13 or 14, and I thought this was the beginning of something.