A Quote by Bobcat Goldthwait

The thing that interested me, there are so many filmmakers I admire - like David Lynch and Quentin Tarantino - they have these themes where there's not much going on, but they were suspenseful.
Quentin Tarantino is interested in watching somebody's ear getting cut off; David Lynch is interested in the ear.
David Lynch is very important to me, and he does dreamlike movies, but my dreams are not like David Lynch's dreams. I have no interest in copying anybody's work. It would never occur to me to want this to look like someone else's thing.
I was very scared when I saw it, because Dune was for me very important in my life. I was very sad I could not do it. When I saw that David Lynch would do it, I was very scared, because I admire him as a movie-maker, and I thought he would do well. But when I see the picture, I realize he never understood this picture. It's not a David Lynch picture. It's the producer who made that picture, no? Who made this horror. For David Lynch, it was a job. A commercial job. It never was that for me.
A lot of the surreal filmmakers, like David Lynch, Alejandro Jodorowsky, or countless other underground filmmakers... Their sense of explosive images have always dominated their films. It's a way to shock the senses, to make them open themselves.
I like Quentin Tarantino, especially the early films, but I'm a big fan of Billy Wilder and Preston Sturges... you know, people were writing great dialogue back then. It's as if people only have the memory of the last 15 years. So, before Tarantino no one was writing witty dialogue? That's ridiculous. Why do we have to keep referring to Tarantino?
I admire David Lynch so much, and I think he made some bad decisions with Lost Highway.
The thing is, making movies as an actress, you learn so many things. Like when you're making a movie with Quentin Tarantino you're just at the best cinema school ever.
A script arrived, and on the front cover - scrawled really big, as if it were a book report - is 'Django Unchained, written by Quentin Tarantino.' And I thought, 'Well, no art department came up with this; this is Quentin's writing.'
Then all of a sudden, Quentin Tarantino comes along and puts a song from 40 years ago in one of his films and they've suddenly discovered you. That was a real gift that Quentin gave me.
There are no good guys in a Quentin Tarantino movie. They're all bad guys. And you like us. That's Quentin's big talent.
With 'Django Unchained,' when you're dealing with slavery, it's like a gymnastics routine with the highest amount of difficulty. Quentin Tarantino is not going to do a movie that's just going to lay there and be safe. There's going to be twists and flips.
With Django Unchained, when you're dealing with slavery, it's like a gymnastics routine with the highest amount of difficulty. Quentin Tarantino is not going to do a movie that's just going to lay there and be safe. There's going to be twists and flips.
Quentin Tarantino doesn't beat Hal Ashby, and he's one of my favorite directors. Quentin is incredible.
There are a lot of filmmakers I love whose work doesn't inspire mine at all. For example: Quentin Tarantino. From his films you can see that he has a wicked sense of humour, and I love that!
For me, the key is years of the blessed filmmakers I've worked with giving me permission to be bold and jump off cliffs and to be boundaryless. I would put David Lynch at the top of that list.
Quentin Tarantino faced the same backlash when his films came out until eventually people felt they were actually much smarter.
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