A Quote by Josh Barnett

Does anybody really survive 'Sharknado,' including the viewer? — © Josh Barnett
Does anybody really survive 'Sharknado,' including the viewer?
When my agent called me up and said, "Do you want to be in a movie called Sharknado?" I said, "What is it about? Is it really about sharks falling out of the sky and eating people?" And she said, "Yes." And I said, "Definitely. That is going to be a huge hit. That is going to put to rest the Home Alone dad image. I'm going to be the Sharknado drunk instead, hopefully." And I was right. I don't know how I knew that, but I just knew that Sharknado was going be a huge hit.
There was such mass appeal for 'Sharknado.' It went over so well - not just here in the United States but globally - that it would be such a missed opportunity and a ripoff for the fans not to bring 'Sharknado' back.
We have so many foreign fans, I think we should take the movie to them. I thought, 'Wouldn't it be great, instead of demolishing a city, if we, through a 'Sharknado,' could rebuild it? Wouldn't it be fantastic if we went to Italy and a 'Sharknado' straightened the Tower of Pisa?'
The first time I heard 'Sharknado,' I thought it was a late-night infomercial for a new vacuum cleaner. Could have swore I ordered one once. Then I found out what it was and remembered that I grew up reading the 'Sharknado' novels.
What intrigues me is making images that confound and confuse the viewer but that the viewer knows, or suspects, really happened.
The fittest survive. What is meant by the fittest? Not the strongest; not the cleverest - weakness and stupidity everywhere survive. There is no way of determining fitness except in that a thing does survive. 'Fitness,' then, is only another name for 'survival.' Darwinism: That survivors survive.
I am very conscious of the viewer because that's where the art takes place. My work really strives to put the viewer in a certain kind of emotional state.
Art objects are inanimate sad bits of matter hanging in the dark when no one is looking. The artist only does half the work; the viewer has to come up with the rest, and it is by empowering the viewer that the miracle of art gains its force.
suicide is absolute, and if you think you will survive by hiding who you really are, you are sadly misled: there is no such thing as partial or intermittent suicide. You can only survive if you - who you really are - do survive.
To survive in a creative economy, you need basic instinct! You have to know and smell your viewer.
I don't really think that the technique really determines the veracity of the image. It's what the image does to the viewer that determines whether it's right or wrong.
When we're in the story, when we're part of it, we can't know the outcome. It's only later that we think we can see what the story was. But do we ever really know? And does anybody else, perhaps, coming along a little later, does anybody else really care? ... History is written by the survivors, but what is that history? That's the point I was trying to make just now. We don't know what the story is when we're in it, and even after we tell it we're not sure. Because the story doesn't end.
Philosophy by showing - including philosophy in literature - does truly valuable work in leading us to new perspectives from which our arguments can then begin. It does so by introducing new synthetic complexes, which we then reflect on from various points of view. When the complexes survive and grow, that initial showing has been philosophically decisive.
Everyone does what they believe they need to do in order to survive in this business, 'survive' being the operative word.
My personal opinion is that when the economy does well, anybody who has a deposit franchise will survive and grow because how can you lend if you do not have a deposit franchise?
There is not a special imposition on writers to be activists. All that does is encourage writers to write propaganda. Propaganda can be written by anybody, including dictators.
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