A Quote by Kiefer Sutherland
I've always thought of the western as American storytelling at its best.
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There are very few films that I've ever seen in my life that would be as silent or vacant as something like Jeremiah Johnson, and that to me was unbelievably captivating. You can see the same about [The Outlaw] Josey Wales: there's very little dialogue, and yet it contains such a deep, rich story. I've always thought of the western as American storytelling at its best.
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.
The western will always be here. And it just depends on how good you make one. And one movie doesn't kill it. And one movie doesn't preserve it. It's storytelling. It's a very American thing. I'll continue to do it.
You see the one thing I've always maintained is that I'm an American Indian. I'm not a Native American. I'm not politically correct. Everyone who's born in the Western Hemisphere is a Native American. We are all Native Americans. And if you notice, I put American before my ethnicity. I'm not a hyphenated African-American or Irish-American or Jewish-American or Mexican-American.
So much Western storytelling comes from Scandinavia. I've read that in the past, storytellers would travel to Iceland and exchange stories. It's kind of the birthplace of great storytelling.
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.
Extremism is not endemic in my region, nor is anti-Western sentiment. No doubt there is discontent and distrust. That is towards more the American and some Western policies, and not toward the American people.
The reason why I always wanted to make an American film was because of the Western genre. It is something that I would very much like to make in the future, because it's very uniquely American, and I can't make a Western film in Korean.
I think feminism has always been global. I think there's feminism everywhere throughout the world. I think, though, for Western feminism and for American feminism, it not so surprisingly continues to center Western feminism and American feminism. And I think the biggest hurdle American feminists have in terms of taking a more global approach is that too often when you hear American feminists talk about international feminism or women in other countries, it kind of goes along with this condescending point of view like we have to save the women of such-and-such country; we have to help them.
My wife thought I deserved it, but I always thought the Nobel a Western prize.
Scientists have always thought that because mammoths roamed such a huge territory - from Western Europe to Central North America - that North American woolly mammoths were a sideshow of no particular significance to the evolution of the species.
If in Nietzsche's thinking the prior tradition of Western thought is gathered and completed in a decisive respect, then the confrontation with Nietzsche becomes one with all Western thought hitherto.
We actually try our best to be non-biased, but for me, that was the best movie ["Sicario"], filmmaking-wise and storytelling-wise, and connected to me the most. I thought it was great.
I loved Westerns for different reasons as an adult. It is not only our only native brand of storytelling - the only one that's not influenced by Europeans and not something that's done better by the French - but I also love the sensuality of the Western. The sights, sounds, and smell of a Western are very exciting.
I read a lot - surveys of vernacular music. A lot of it is the Harry Smith Anthology of American Folk Music, which I've loved since I was in high school. They had it at the library and I always thought that was interesting, even when I was into punk and stuff. Just the history of storytelling and the amount of melancholy a lot of old music has.
If we have an element of Americans here that reject western civilization, and that's a big element, that reject western civilization, then what have we? This is an effort on the left I think to break down the American civilization and the American culture and turn it into something entirely different.
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