A Quote by Anne Roiphe

I think that certainly the artists of the '40s, '50s and '60s were fighting a very conformist society, which didn't give them enough space to live or create, and they were bucking all kinds of spoken and unspoken rules.
I think Hollywood has gone in a disastrous path. It's terrible. The years of cinema that were great were the '30s, '40s, not so much the '50s...but then the foreign films took over and it was a great age of cinema as American directors were influenced by them and that fueled the '50s and '60s and '70s.
I think that once you've produced a conformist, a totally conformist society, a society in which there were no critics, that would in fact be an exact equivalent of the totalitarian societies against which we are supposed to be fighting in a cold war.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and don't want to look like grandmothers.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and dont want to look like grandmothers.
The core of Animal House was about prejudice, about equality, and about inclusion/exclusion. It was about a group of people who were together and anything went. Anybody who wanted in could get it in. Then there was that other group that nobody could get in, unless they were white, and just alike. It was very representative of the culture in the '60s, '50s, and '40s in America.
The first comedians I became fascinated with were the Marx brothers. I couldn't get enough of them. Later in life, I thought, "Well, maybe it's because they were so rebellious and they were just flipping the bird to society and all the rules we're supposed to follow." They were saying that none of it is fair.
Maybe the '50s and '60s were more awkward because everyone knew there were things under the surface, but no one talked about them.
I want to live out principles that became a part of my life in my 40s, 50s, and 60s. One principle is the universality of freedom.
There's a set of unspoken rules we live by when it comes to fighting. We can't help it. It comes from living in a civilized world. Even when you're fighting your hardest, somewhere deep down, you know how far you can go. But today the rules are gone. Today I fight not to win, but to destroy.
We had a moment in the '40s and '50s, where female characters were very strong in film, where these incredible roles were written for women like Joan Crawford, like Bette Davis. But then there was a space of time where - I don't know why - it wasn't like that. It became difficult for women to find certain roles after a certain age.
When I see an old movie, like from the ’40s or ’50s or ’60s, the people look so calm. They don’t have smartphones, they’re not looking at computer screens, they’re taking their time. They’ll sit in a chair and just stare off into space. I think some day we’ll find our way back to that garden of Eden.
I'm enthralled by the national yearning that the Russians had during the 50s and 60s. The whole century was pretty rough for them. They suffered genocide, war, poverty, and half the population was sent to labor camps. But they were determined to get into space first.
The `50s were terrifying with nuclear bomb stuff but boring in a social way and then the `60s were happening, and remember, there was no AIDS.
The '50s were terrifying with nuclear bomb stuff but boring in a social way, and then the '60s were happening, and remember, there was no AIDS.
I like the idea of defying the convention of what it is to be in your 40s, or 50s, or 60s.
You know what, it's a time honored tradition in movies in America that if you kill enough people in your 30s and 40s and 50s that by the time you get into your 60s you become loveable.
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