A Quote by Daniel Woodrell
Most of my characters aren't hillbillies anyway. Let's just call them proletariat with a disposition towards criminal activity.
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In existing criminology there are concepts: a criminal man, a criminal profession, a criminal society, a criminal sect, and a criminal tribe, but there is no concept of a criminal state, or a criminal government, or criminal legislation. Consequently what is often regarded as "political" activity is in fact a criminal activity.
Americans call them hillbillies, rednecks, or white trash. I call them neighbors, friends, and family.
The most favourable laws can do very little towards the happiness of people when the disposition of the ruling power is adverse to them.
The reality is that most celebrity defendants are extremely unknowledgeable, naive and vulnerable, and if they get into trouble they usually call their lawyer friends who handle criminal cases. And if they do not know any, they call their business lawyers, who then refer them to lawyer friends of theirs who handle criminal cases. It's very incestuous.
There is nothing anyone can do anyway. The public has no power. The government knows I'm not a criminal. The parole board knows I'm not a criminal. The judge knows I'm not a criminal.
I hate endings. Just detest them. Beginnings are definitely the most exciting, middles are perplexing and endings are a disaster. … The temptation towards resolution, towards wrapping up the package, seems to me a terrible trap. Why not be more honest with the moment? The most authentic endings are the ones which are already revolving towards another beginning. That’s genius.
My grandma would say if someone else calls you a hillbilly, you might need to punch them in the nose. But if we call ourselves hillbillies, it's a sort of a term of endearment, something that we have co-opted.
The reality is that most celebrity defendants are extremely unknowledgeable, naive, and vulnerable, and if they get into trouble, they usually call their lawyer friends who handle criminal cases, and if they don't know any, they call their business lawyers, who then refer them to lawyer friends of theirs.
My stuff is generally quite collage-y anyway. So it's sort-of suited to gathering raw materials like shooting actors, then making stills or animating characters, then just bringing them all together in a 3D space. That process is very close to my 2D work anyway.
I don't steer towards anything. I steer towards character and truth. If it's funny then so be it. If it's dramatic, so be it. I just steer towards characters.
And if you had no tongue, no celebrating language, you’d do this: cross your hands at the wrist with palms facing towards you; place your crossed wrists over your heart (the middle of your chest, anyway); then move your hands outwards a short distance, and open them towards the object of your love. It’s just as eloquent as speech.
My most powerful memory was hearing Earl Scruggs on 'The Beverly Hillbillies' as a 5 or 6 year old. That sound just blew me away, shook my head up.
I support decriminalisation. People are smoking pot anyway and to make them into criminals is wrong. It's when you're in jail you really become a criminal.
As most characters are that I play, there's a lot of me in it, anyway.
But it has also enabled me to find my feet as a lecturer and a reader of my own plays to audiences who like to hear them; and that experience of immediate appreciation gives greater pleasure and more stimulus towards further activity than even the most laudatory of reviews.
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
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