A Quote by John Malkovich

I never really did a western western. — © John Malkovich
I never really did a western western.
As I have pointed out, it is the Christian tradition that is the most fundamental element in Western culture. It lies at the base not only of Western religion, but also of Western morals and Western social idealism.
The Western is as American as a film can get - there's the discovery of a frontier, the element of a showdown, revenge, and determining the best gunman. There's a certain masculinity to the Western that really appealed to me, and I've always wanted to do a Western in Hollywood.
Fandango is not really a Western. It's really just set in Texas. It's a road picture. And then I did one that hasn't come out yet called Kreep, which is set in Texas, but it's not really a Western. But it has a more rural-Texas feel to it.
It is one of the perceptual defects of Western government and press to assign Western-style motives to what people do in non-Western societies, as if these are universally relevant.
I've made the film 'The Good, the Bad, the Weird,' which was an Eastern Western film. Obviously, the Western film is American and American only; there's really no Western genre over in Asia.
I always knew I wanted to do a Western. And trying to think of what that would be, I always figured that if I did a Western, it would have a lot of the aesthetics of Spaghetti Westerns, because I really like them.
Typically, in Westerns, people who are in a Western feel like they're in a Western. It's almost like they know they do all these Western things.
I watched Westerns from the time I was a girl. My dad was a big Western fan. I always loved Clint Eastwood movies and Westworld, where the guy gets trapped in a western-themed amusement park. The western motif was fascinating to me.
I watched Westerns from the time I was a girl. My dad was a big Western fan. I always loved Clint Eastwood movies and 'Westworld', where the guy gets trapped in a western-themed amusement park. The western motif was fascinating to me.
Of course, 'True Grit' is a Western, but we never considered our film a classical Western and honestly never thought about genre at all. We didn't talk about John Ford or Sergio Leone, even though we like their films. Really, we were driven only by our enthusiasm for Charles Portis's book.
We still insist, by and large, in thinking that we can understand China by simply drawing on Western experience, looking at it through Western eyes, using Western concepts. If you want to know why we unerringly seem to get China wrong... this is the reason.
I think the history of western feminism is one that is fraught with racism, and I think it's important to acknowledge that and, at the same time, to say that feminism is not the western invention, that my great-grandmother in what is now south-western Nigeria is feminist.
Of course in Turkey I'm seen as being on the 'Western' side, criticised by the nationalists, criticised by the communitarians as not belonging. Even, sometimes, criticised for looking at my country through Western eyes. And in the Western media I'm portrayed as belonging to the East.
Stagecoach is really my first Western-Western, the whole horses and gunplay. It was really fun. We shot it fast, too. We got lucky with the weather. If it rained, I don't know if we would have been able to finish it. We had like 12 shooting days for the whole thing.
I'd like to see the University of Western Australia and the other four or five universities in Western Australia really excel through having some of the greatest minds in the world attracted to it.
Id like to see the University of Western Australia and the other four or five universities in Western Australia really excel through having some of the greatest minds in the world attracted to it.
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