A Quote by Jackie Coogan

Chaplin himself was the greatest scene stealer of all time. No matter what was happening Charlie could draw attention to himself - if he wanted to. — © Jackie Coogan
Chaplin himself was the greatest scene stealer of all time. No matter what was happening Charlie could draw attention to himself - if he wanted to.
Charlie Chaplin's genius was in comedy. He has no sense of humor, particularly about himself.
We felt that the public, and especially the children, like animals that are cute and little. I think we are rather indebted to Charlie Chaplin for the idea. We wanted something appealing, and we thought of a tiny bit of a mouse that would have something of the wistfulness of Chaplin - a little fellow trying to do the best he could.
I wanted to live where I could pop to the bar that Humphrey Bogart took Lauren Bacall to, or the little restaurant where Charlie Chaplin had a booth.
From 'the lesson of the moth': and before i could argue him out of his philosophy he went and immolated himself on a patent cigar lighter i do not agree with him myself i would rather have half the happiness and twice the longevity but at the same time i wish there was something i wanted as badly as he wanted to fry himself
The universe is deathless; Is deathless because, having no finite self, it stays infinite. A sound man by not advancing himself stays the further ahead of himself, By not confining himself to himself sustains himself outside himself: By never being an end in himself he endlessly becomes himself.
My idol growing up was Charlie Chaplin. I was obsessed with him. I mean, while other kids were watching Jim Carrey and the likes in the '90s, I was watching Charlie Chaplin films, because I was a bit of a geek. I became obsessed with this idea of physical comedy.
I never met who I really wanted to meet, and that was Charlie Chaplin.
When I draw the scene that I'd been dreaming about or had always wanted to draw, that is the time that I'm happiest.
I'm in the back of a limousine with Charlie Chaplin and it’s 1928. Charlie is beautiful; his body language seems to skip, and reel and rhyme, heartbreaking and witty at the same time. It seems to promise a better world.
For it is in the field where meaning is constitutive that man's freedom reaches its highest point. There too his responsibility is greatest. There there occurs the emergence of his existential subject, finding out for himself that he has to decide for himself what he is to make of himself.
Charlie Chaplin and I would have a friendly contest: Who could do the feature film with the least subtitles?
Man's destructive hand spares nothing that lives; he kills to feed himself, he kills to clothe himself, he kills to adorn himself, he kills to attack, he kills to defend himself, he kills to instruct himself, he kills to amuse himself, he kills for the sake of killing.
Sometimes a man imagines that he will lose himself if he gives himself, and keep himself if he hides himself. But the contrary takes place with terrible exactitude.
In my life, I wanted to meet certain people. I never met Charlie Chaplin, but I met Werner Herzog.
I never cared about making one coherent masterpiece with a conventional narrative. I always wanted my movies to have images falling from all directions in a vaudevillian way. If you didn't like what was happening in one scene, you could just snooze through it until the next scene.
One of the greatest moments in anybody's developing experience is when he no longer tries to hide from himself but determines to get acquainted with himself as he really is.
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