A Quote by Kevin Smith
I saw Richard Linklater's film 'Slacker' for my twenty-first birthday. That was the moment when it all seemed possible. This guy gave me hope.
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I saw School of Rock, and I was like, why haven't I worked with Richard Linklater already? Then by the time I got him I was like, I'm really pissed off I feel like you owe me some retroactive swag. He gave me the 10-year anniversary "Dazed and Confused" T-shirt, which I still wear with relish.
I could not tell you if I loved you the first moment I saw you, or if it was the second or third or fourth. But I remember the first moment I looked at you walking toward me and realized that somehow the rest of the world seemed to vanish when I was with you.
My happiest memory of childhood was my first birthday in reform school. This teacher took an interest in me. In fact, he gave me the first birthday presents I ever got: a box of Cracker Jacks and a can of ABC shoe polish.
My process differs... my process for a Richard Linklater film is very different than a process for Training Day.
Even when God seemed to have abandoned me, he was watching. Even when he seemed indifferent to my suffering, he was watching. And when I was beyond all hope of saving, he gave me rest. Then he gave me a sign to continue my journey.
A Richard Linklater set is truly Eden.
If I could make every movie with Richard Linklater, I would.
The day I got to Los Angeles after I got traded, Chase Utley was the first guy I saw. He welcomed me. He gave me a big hug. He was, like, 'You. You are my brother.'
Robert Duvall saw me playing at a restaurant in Louisiana and invited me to be an extra in his movie 'The Apostle.' He gave me a guitar for my sixth birthday, and I thought that was the coolest thing in the world.
In Eden I "saw" that Adam or Eve probably spoke each word FOR THE FIRST TIME and that seemed wild and seemed to me that that might have brought them to some essence of language. Once I "saw" the city, I knew it was real. once I saw that a poem was a house, i knew it was real and could go back to it or else write a flurry of poems around it, both worked.
The core plot of 'Mercury' is so gripping that when I thought of making it as a silent film, it only made it more interesting. Once I finished writing the first draft, making a silent film that's both thrilling and engaging seemed possible. When the film team read the final script, they felt the same.
I went to a pizzeria. The guy gave me the smallest slice possible. If the pizza was a pie chart with what would you do if you found a million dollars, he gave me the "Donate it to charity" slice. "I'd like to exchange this for the 'Keep it!'"
[Televised stand-up] never really makes me laugh. The only one I ever saw that I liked was Richard Pryor, and that was [shot on] film.
The future is a process, not a destination. Richard Stallman is a guy my age. I sympathize with Richard rather more than I sympathize with Richard's open-source ideas, but the guy's a mortal human being and so is his social movement. Open-source is a means of production.
Shakespeare is God, of course. I have studied his plays for the vast majority of my sentient life. When I was a kid, my parents found an old copy of the LP recording of Richard Burton in John Gielgud's Broadway production of Hamlet and they gave it to me for my birthday. I listened to it till the grooves wore thin and I was off and running.
For my birthday that year Anne gave me an inflatable atlas globe, along with a birthday card in which she wrote: I give you the world. Have fun blowing it up.
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