A Quote by Curtis Hanson

I had the great fortune to actually become friends with Sam [Fuller] and ultimately collaborate with him on White Dog, which we wrote together. — © Curtis Hanson
I had the great fortune to actually become friends with Sam [Fuller] and ultimately collaborate with him on White Dog, which we wrote together.
Sam Fuller and 'Shock Corridor' can only be conjured as a mantra. 'Shock Corridor' is a classic work of art - it's unique. It comes from the unique experience of being Sam Fuller and yes, there's always that element of 'Shock Corridor' hovering around the picture, but never specifically. In fact, I didn't even screen it because it's in us. It's in me anyway. It's in me. It was a way of conjuring up support just by saying the name, 'Shock Corridor,' as I was going to shoot. Poor Sam [Fuller]...
How do you have a think in pictures? Well, you have to sort the pictures into categories. You know, for example, a dog knows that, you know, there's good people and there's bad people. And I talked to a lady the other day where her dog was afraid of people with white beards because she had adopted him from an animal shelter and somebody with a white beard had abused him. And this dog was now afraid of everybody that had a white beard. That was the bad category.
First of all, Sam Fuller left a group of extraordinary movies that are unique, that are "Fuller-esque," as one might say, which makes them stand apart from any other director's films.
I think I was a shy kid. I grew up without television. I had a dog, and we lived up in the White Mountains in the summer, and I had no friends up there. And I would just go play hide-and-seek with my dog and probably had some imaginary friends.
In my class - in all fifth-grade classes - we were required to read 'classics,' books like 'Shiloh,' which is about a white boy and the dog he rescues. And 'Old Yeller,' which is about a white boy and the dog that rescues him. And 'Where the Red Fern Grows,' which is about a white boy and the two dogs he trains.
It was also a new role for me as a writer, because I wanted to just be there to serve Sam. I recognized that this picture would be "a Sam Fuller movie," and I was just trying, in whatever way I could, to help him get what he wanted.
There was a long period of time when Sam Fuller had a lot of projects fall through and had a lot of difficulties getting a project off the ground. And I was able to observe him during that period, and see his incredible resiliency and courage as he faced this difficulty and just kept working.
I had written the script a few years earlier for Paramount, then later got hired with Sam [Fuller] to write an entirely new script that he was going to direct. And that was one of the great thrills of my professional life.
When I say I had a cosmic confidence that we were capable of writing good music, I'm speaking about that time when we met Sam [Fogarino]. Greg [ex-drummer] is actually a really great drummer and a great guy. I never want to sound like I am belittling his contributions in the early days, but when Sam joined, there was an immediacy of, like, "Here we go."
I have a part-time dog. I'm actually an aunt to a dog, and he's an awful dog, but I love him. He's only interested in doing what he wants to do.
Justin Hayward was a teenager when he was drafted into the Moody Blues in 1966. He brought with him one song he had written for his girlfriend. This was called 'Nights in White Satin,' which subsequently made a fortune for a lot of people.
Training a dog, to me, is on a par with learning to dance with my wife or teaching my son to ski. These are fun things we do together. If anyone even talks about dominating the dog or hurting him or fighting him or punishing him, don't go there.
We'd love to collaborate with Sam Smith. I've told him. Many times. We've got loads of songs we've written that we can literally just hear his voice on.
Quite often, we're swamped with friends. My house is known as Hotel Morrissey, which is quite handy whenever I need dog-sitters for Tiggy. She's my tiny little rescue dog, the size of both of my feet put together.
My grandpa got me a set of Wilson clubs, Sam Snead models, when I was 12. Many years later, when I'd become well known, I got to know Sam, and we played a lot of golf together.
Performa's founder and prime mover, Roselee Goldberg, has great instincts for which artists might collaborate well together.
This site uses cookies to ensure you get the best experience. More info...
Got it!