A Quote by Alec Baldwin
I know there's an impression that I'm someone who seeks to have violent confrontations with people. I don't. Do I regret screaming at some guy who practically clipped my kid in the head with the lens of a camera? Yeah, I probably do, because it's only caused me problems.
Related Quotes
People are not so dreadful when you know them. That's what you have to remember! And everybody has problems, not just you, but practically everybody has got some problems. You think of yourself as having the only problems, as being the only one who is disappointed. But just look around you and you will see lots of people as disappointed as you are.
To be totally honest? I don't know if I'll keep doing more impressions. People told me I had a facility for it, and I was like, 'Okay, I'm the impression guy.' So you imagine the cast at 'SNL' is an A-Team, and you've got the explosives guy, and I'm the impression guy.
We actually found some home videos, some really funny footage of me when I was around 3 years old. I come up to the camera to do a Nixon impression. I don't know who taught me that, but I come up to the camera and said, 'I am not a crook.' I got a really good laugh. You see me register that bringing joy to people is a positive thing.
When I started acting, one of the first things I learned was - especially in Hollywood - was branding. I'm a tall guy. I'm like, 'Yeah, that's probably going to be my foot in the door,' because that's my impression on everybody. I'm an athletic guy, and I think, because I grew up disliking jocks so much, that became, like, the character for me.
Antiwar protestors actually sabotaged and caused a huge amount of damage to military installations and military property during the war. I'm related to someone who caused some of that damage. I mean, it was real. I mean, there was a reason. I'm not defending it, but I'm saying it was not because they didn't like the politics of the protesters. The protesters were violent in a lot of cases.
I was always fearful I would become That Guy. The guy who had regret. 'Yeah, we won a couple of championships, but I never saw my kids grow up. Yeah, we beat Georgia a couple of times, but I ruined my marriage.'
I had some physical problems with my back that caused me just some really bad problems.
Regret is not an apology. I regret that I ran the stop sign, right, but, yeah, I'm not sorry for what I speaking. I regret that because I got a ticket. You can regret things and still not be sorry for them.
I'm covered in tattoos head to toe, I have this striking style, I'm smaller than most competitors, and people are like, 'Yeah. That's my guy.' Why? Because they can see part of themselves in me.
Some nights it was a melee, literally, where I'd be standing trying to defend myself for what I was doing. People would be screaming at me to do my old act, and getting actually violent and angry at me.
I have received the digital camera as a blessing. It has really changed my life as a filmmaker, because I don't use my camera anymore as a camera. I don't feel it as a camera. I feel it as a friend, as something that doesn't make an impression on people, that doesn't make them feel uncomfortable, and that is completely forgotten in my way of approaching life and people and film.
It caused more problems as a young kid, because the simple process of perceiving words on a piece of paper was hard for me. Many people think dyslexic people see things backwards. They don't see things backwards.
Ironically, people who suppress the mini-confrontations for fear of conflict tend to have huge conflicts later, which can lead to separation, precisely because they let minor problems fester. On the other hand, people who address the mini-conflicts head-on in order to straighten things out tend to have the great, long-lasting relationships.
Of course, the camera is a far more objective and trustworthy witness than a human being. We know that a Brueghel or Goya or James Ensor can have visions or hallucinations, but it is generally admitted that a camera can photograph only what is actually there, standing in the real world before its lens.
You carry that through and adapt it to a camera lens, but you're quite right, you cannot be sure of what an audience is going to do. You don't know what's going to happen to the piece you're doing anyway. You don't know how it's going to be edited. There are a lot more unknowns in cinema. But that you have to readily accept. That's when, I think, you have to forget about intellect, to a degree. Intuition is very important when you're working with a lens, I believe, for what the lens is doing, too.
To the oft-asked question, What camera or lens do you use? I can only reply I couldn't tell to save my soul - it is enough for me to know that I have something that will make pictures and that it is in working order.
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