A Quote by Hal Needham
They started saying stuff like 'Should we cut the movie? Is it too this, too that?' It got drastic. It got heated. I said, 'Wait a minute, folks. I didn't make 'Smokey' for big-city audiences. I made it for the South, the Midwest and Northwest. Those are my people.'
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The fashion business got boring. I was working with big companies, but the minute it became too formulaic, I got bored with it. I wanted to do a creative space where I could just make stuff - kind of like an atelier, where I could collaborate with other artists, drape geometric shapes on the body, make cushion covers, or whatever.
Around '93, the radio started playing 'Loser' by Beck and 'Cut Your Hair' by Pavement, and then I got way into Pavement. That was kind of a gateway drug into indie rock. I got all their B-sides, and I got that 'Hey Drag City' comp, so I got into all those Drag City bands.
Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.
Anyone who's ever driven to Atlantic City knows that Trump's got a big billboard. For years, you used to see his angry face on it. I said, 'Trump, that expression is making people afraid to go to the Taj Mahal. Why don't you give them a big smile.? 'C'mon in, folks! Spend your money here!' I think we got that corrected.
I think we've always got to have a mind of the feeling for the supporters about the importance of each match. We've got to be careful not to make tournaments too big and then make qualifying too straightforward.
Without the heart to ground it and open it to who we really can be as human beings, the brain is a very dangerous machine. A machine that is saying: we've got to have economic growth; we've got to have unending economic growth, otherwise societies will collapse. And yet there should be something saying: wait a minute, this isn't going to work.
The instructor stared at me with cold, cut-me-no-slack determination, then got into a fighting stance, holding one hand out, beckoning me. "I saw that movie too!"I said."It was like the coolest movie of all-" He launched himself at me. That was when his day really went downhill.
He read a lot. He used a lot of big words. I think maybe part of what got him into trouble was that he did too much thinking. Sometimes he tried too hard to make sense of the world, to figure out why people were bad to each other so often. A couple of times I tried to tell him it was a mistake to get too deep into that kind of stuff, but Alex got stuck on things. He always had to know the absolute right answer before he could go on to the next thing.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
If you think about movies that are adapted from books, they never feel like enough. There's always too much cut out in the end. You either make a five hour movie or you leave out stuff that should be in there.
Keep in mind that there are computers, that do touch things up. Like when I got a hold of the poster for 'Gold Diggers,' I said: 'Hey, wait a minute! Those aren't my teeth!
Keep in mind that there are computers, that do touch things up. Like when I got a hold of the poster for 'Gold Diggers,' I said: 'Hey, wait a minute! Those aren't my teeth!'
Nothing ever seems too bad, too hard or too sad when you've got a Christmas tree in the living room. All those presents under it, all that anticipation. Just a way of saying there's always light and hope in the world.
Well, you know, when you're putting together a show, you've got to be careful not to load it up with the new stuff. We have to play the songs that people want to hear, too. People may come thinking, "Oh, I've just got to hear this song." Or maybe they'll write me a letter saying a certain song is really meaningful to them, so we'll be sure to play those songs.
The dreadlocks were easy to maintain: I got up in the morning and flicked my head. If they got too big, I'd pull them apart every now and again. In the end, I got too old for them.
Trust is always a factor. You've just got to look at the big picture, and you've got to look at the small picture - the small picture in the sense that you've got to make every scene work and you've got to deal with what people are presenting you with, too.
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