A Quote by John Wayne

In westerns, you meet a hardy bunch of characters. There is no jealousy on such pictures. — © John Wayne
In westerns, you meet a hardy bunch of characters. There is no jealousy on such pictures.
I actually don't like westerns much. I like good westerns, but it isn't my preferred genre. There are all kinds of westerns: acid westerns, '70s westerns, Nicholas Ray's neurotic westerns. The ones I tend to like are nutso westerns.
Oh my God, if you're talking terrible theme songs, you have to mention Matt Hardy. I can't understand what they're even saying. There's a point in Matt Hardy's song where it sounds like they say 'I want to meet the cheese.' I'm always like, 'Meet the cheese?' Just goofy stuff.
I had done some work when I was starting in with photography on westerns, and photographing them was the greatest pleasure I had. If I was ever qualified for anything, it would have had to do with making westerns. But as I started working on pictures with people like Katharine Hepburn, I got further away from the thing I really liked to do.
I've always been a fan of Westerns, but my favorite kind of Westerns mostly were Sam Peckinpah's Westerns, and they mainly took place in the West that was changing.
I watched westerns when I was a kid, like everybody else, but I wasn't a total nerd or geek about it. I kind of fell in love with westerns heavily when I started watching Sergio Leone's westerns.
I did a Coca-Cola commercial when I was about two and a half years old, and then me and my family were extras in a bunch of Westerns. I loved dressing up and stepping into this imaginary world, and it was fun to get outside of my tiny little town with a bunch of movie weirdos.
I would very much like to make Westerns. I love Westerns. I've worked on many Westerns in my youth, in Spain and here, and I love working on them.
But actually making pictures to look like my pictures, I've done it for so long, I'm kind of used to it now. So at the beginning of the process, designing and storyboarding everything, I sort of did all that. And then designed the characters, and doing the textures for the characters, and the texture maps to cover all the animated characters and the sets, I did those, because that's where my sort of coloring and textures get imprinted on the film.
It was absolutely thrilling to meet Laurel and Hardy, they were so nice.
I haven't got anything against films that are about the minutia of relationships or customs, but I love extremes. I love taking a bunch of characters and it usually is a bunch of characters, and you throw something at them that's usually extreme, like a bag of money, or you send them out to explode a nuclear device on the surface of the sun. And those extremes are wonderful for drama.
There is no other genre that deals with America better, in a subtextual way, than the Westerns being made in the different decades. The '50s Westerns very much put forth an Eisenhower idea of America, whereas the Westerns of the '70s were very cynical about America.
I decided to write Westerns because there was a terrific market for Westerns in the '50s. There were a lot of pulp magazines, like 'Dime Western' and '10 Story Western' that were still being published. The better ones paid two cents a word. And I thought, 'I like Westerns.'
I love Cillian Murphy's character in 'Peaky Blinders' and Tom Hardy's in 'Taboo' - theses are characters that, as audience members, we follow along with and root for. But our own morality is tested throughout that journey, because these characters ride a thin line between morality and amorality.
Even in pictures, people think that I'm over five feet, and when they meet me in person, they're like, 'Oh, you're so short. I didn't expect that because you look so tall in pictures!'
If you write a bunch of different characters with a bunch of different opinions, you end up with these long scenes of everyone standing around talking.
I want to be able to make westerns like Akira Kurosawa makes westerns.
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