A Quote by Harry Dean Stanton

I met Dylan on 'Pat Garrett and Billy the Kid.' We buddied around for quite a while after that. We jammed together; he liked my Mexican songs. — © Harry Dean Stanton
I met Dylan on 'Pat Garrett and Billy the Kid.' We buddied around for quite a while after that. We jammed together; he liked my Mexican songs.
I come from the belief that all good films find their time whether it's on opening week or sometime later. That's certainly true with some of my favourite films that might relate to this [The Assassination of Jesse James] film in terms of cadence like Pat Garrett & Billy the Kid, or McCabe & Mrs Miller or Days of Heaven. I found them 10 to 20 years after they were made.
After Nashville sushi and a long debate on Bob Dylan, we went into Woodland Studios at 10 pm that night for a look around, and jammed for 5 hours solid.
I do all the classics, like Dylan, Kristofferson, Jimmy Reed, Mexican mariachi songs, some jazz songs from the '30s. Cole Porter's 'Begin the Beguine,' that's one of my favorites.
But in my heart I knew the old Bryce was toast. There was no going back. Not to Garrett or Shelly or Miranda or any of the other people who wouldn't understand. Juli was different, but after all these years that didn't bother me anymore. I liked it. I liked her.
I went on tours with [Bob] Dylan - the big one was in 1975 and called Roaring Thunder Review. I knew him well because I met him around the time he did his second album, in 1963. He recorded one of my songs called Shadows. In the 1970s, it was suggested that we do a duet, because we had the same manager, Albert Grossman, who also managed Odetta and Peter, Paul and Mary. Dylan and I respected what each other did, but I just decided not to do it.
I got turned onto the 'Pat Garrett' soundtrack when I worked retail back in the day.
In Ehrenfeld, we were all jammed together. All the fathers were foreign-born - Welsh, Irish, Polish, Sicilian. We were so jammed together, we picked up each other's accents. And we spoke some broken English. When I got into the service, people used to think I was from a foreign country.
If you put all the songs together that I've written on band records, and put it up next to my solo record, there's definitely a different kind of feel than Billy's songs.
I always liked really heavy guitar music, but didn't like the long-winded songs that went with it. And I always liked pop songs, but was driven nuts because the guitars were so wimpy sounding. So I decided to put the two together. That's how the Muffs started.
I like lots of songs, and I find it quite interesting to do [cover songs] from time to time. My first solo hit was in 1973, the Dylan song “A Hard Rain’s Gonna Fall.”
I met Quincy Jones in Seattle. We were kids together... liked each other when we met and have been close ever since. He wasn't writing when we met - in fact, I more or less started him off to write; voicing, harmony, and stuff like that.
We didn't have the phrase 'style icon' when I was young, but I have to say, I really copied Bob Dylan when I was younger: a little bit of Bob Dylan or a lot of Bob Dylan and the French symbolist poets - I liked how they dressed - and Catholic school boys.
After a while, you're growing up so quickly and you begin to not know your parents anymore. You're left with the memories you had as a kid, but you're not a kid anymore and your experiences are separate. We are now much closer and communicate almost every day. It's a lot of work, but what holds us together is the hope that we will one day be together again.
Weirdly, by the way,[Bob] Dylan also managed to write several beautiful love songs, like "To Make You Feel My Love" (covered by Adele, Garth Brooks, Billy Joel, and who knows who else) and "Most of the Time." Go figure.
And I met Paul Simms while I was making 'It's Pat', and he later wound up casting me in 'NewsRadio.'
And I met Paul Simms while I was making 'It's Pat', and he later wound up casting me in 'NewsRadio'.
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