A Quote by Gene Siskel
But you know, really, if you think about it Roger and I and all critics really have one absolute essential part of our credentials and that is that you believe that that is actually what we think.
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Roger Ebert was such a champion of underrepresented filmmakers. He was a very big deal to me. It shows the power of critics. People who write about film, like you, can really affect the confidence of a young filmmaker. He did that for me, so it was such a pleasure to have an opportunity to talk about Roger in the movie.
I don't really give in to the critics because critics are always going to criticize, and what have they done? A person who has never done nothing can't really care nothing about doing something. So as far as the critics, I don't care what they think. I don't have time to give to critics.
In polite society, there is such a thing as sensitivity to some issues, as time has gone on. There was a time when we weren't politically correct, at all, and we all wince at moments when we look to the past and see that. I don't really know what the answer is, as far as that is concerned. However, me, as an artist, I don't really think about it, at all. It actually is not my job to think about that, especially in terms of me, as a writer, but also as a filmmaker. I'm not worried about the filmmaking part because, if I'm writing it, that's what I'm going to do.
I really believe that all of us have a lot of darkness in our souls. Anger, rage, fear, sadness. I don't think that's only reserved for people who have horrible upbringings. I think it really exists and is part of the human condition. I think in the course of your life you figure out ways to deal with that.
I remember, once I was going through Nice airport with Roger Moore, and these kids came up and asked for our autographs. Afterwards, Roger said, 'It must be very strange for you. I'm an actor, and signing autographs is part of what I do. But you're a public figure who people don't really know.' He was right.
I can't believe that people actually know my first and last name. I think it's really, really, gosh-darn neat.
I have this theory that people are actually really hungry for sonic space and understanding words, and I think that people are ready to look back and actually appreciate some of what came before. And then you really do have the entire movement that I'm just going to call feminist, because I am a feminist. I think the education of young girls and women about what came before has started and I think that the knowledge of Fanny is part of that.
It's not that I don't experience absolute sadness, which is very unentertaining, but I think - when I'm being really honest about myself - I think there's, like, a really performative streak in my personality.
I'm an absolute connoisseur of cheeseburgers and like to think that I can detect even mere percentages of shift in fat content in ground meat in a burger and can actually name the temperature to which it was actually cooked to the degree if I'm, you know, really on my game.
I relied mainly on other artists, who I think are smarter than critics, any critics or curators or anybody like that. They really know.
It's a funny thing, I think people meet us and they assume that we know a lot more about politics than we actually do. People will really get into it. I'm like, I don't really know a lot about tariff reform or export trade reform. That's really not something I know about.
Marriage is a really scary thing. I'm excited about it. I know it's not a mistake, it's the absolute right thing to do. I'm really happy about it. I really, really love my fiancee. We're good friends and I think it's going to work. But that's just the point - it's going to take work. It does make me feel vulnerable to be like, wow, I'm committed to this person for the rest of my life.
You feel like you want something, but you don't actually know what that is. I remember waking up the other night and really craving something, but not knowing what it is. That feeling has been prominent throughout my whole life. I think I try and fill that thing with lots of different things. I can't really stay still. I can't really not be stimulated. It's kind of a search of constant stimulation through other people, substances and stuff. I think that's what our lyrical content is about.
I really, really love to move. You know what I mean? I mean, it's not a workout, but I absolutely love to do it, and that's performing, which is very close to doing Zumba. When you're onstage and you're moving everything, every single part of your body, it's actually working and active to the tips of your fingers. You're burning a hell of a lot of calories. And I think that's what people always look forward to - they want to know how many calories they've burned, and it's really important to actually know that and know your nutrition even more.
If you ask Jim Courier, I mean, that guy has his tongue up (Roger Federer's) ass, I think...you know, the whole time when you actually listen to him commentating or listen to him talk about Roger Federer. Sometimes makes me sick almost.
I am really inspired by writers, and weirdly - respect music journalists, which I think makes me the exception amongst most musicians. I think it's a craft. I think it's been really neglected - sadly. I think about the days of the great legendary rock critics. Who's going to become that when magazines and newspapers don't pay anyone properly or don't seem to respect the history or research that is required?
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