A Quote by Paul Michael Glaser
I don't think a movie today that captured all the things that we did in the seventies could come close, because it's like asking to recreate the seventies and the audience sensibilities and that's impossible.
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The seventies were my fattest decade. Overall I think the seventies were distinctly bulbous. People looked chunky, typefaces were rounded, writing implements penile.
It's funny because unlike back in the seventies when I made hardly any money, today I could just live off the past if I wanted to. I have no interest in that.
I think I'm probably too close to the seventies to be able to analyse them (it?) effectively.
I'm sure I can make a movie that doesn't feel like a seventies movie! But the truth is, that's my favorite era in American filmmaking. To me, those were the great years.
When you're really young, dating girls, and trying to explain Kiss, they just look at you like you're kind of crazy. I think they got so big in the Seventies and were such a phenomenon - they did the 'Kiss Meets the Phantom of the Park' movie, the solo records - some people only know the merchandising stuff.
We didn't have rehab back in the Seventies. Back in the Seventies, rehab meant you stopped doing coke, but you kept smoking pot and drinking for a couple more weeks.
When people say, 'Your music was the music of the Seventies,' I say, 'So was discoteque.' The Seventies was also the highest peak of heavy metal. Pick a genre - they were all alive.
When people say, Your music was the music of the Seventies, I say, So was discoteque. The Seventies was also the highest peak of heavy metal. Pick a genre - they were all alive.
As children in the seventies we were told about nebulous 'strangers'. By definition, we didn't know who these strangers were, and we didn't know what they wanted to do, but only that they were sinister. I think that was the stage the seventies were at.
As I made my way through 'On Line,' the austere, stridently dogmatic, sometimes revelatory exhibition 'about line' at MoMA, I found myself thinking, 'Someone please wake me when the seventies are over!' In the empire of curators, the sun never sets on the seventies. It is the undead decade.
Usually, when you do a period movie, you just recreate what you are shooting. You don't recreate the way you shoot it. I think I did the same thing here as I did in the OSS 117 movies. I recreated the way to shoot that period, because to me, like what I was saying about the Steadicam, there's no sense to do a Steadicam shot in the 1920s because you have never seen the '20s like that. You can't believe there was a Steadicam in the 1920s. I believe it's a continuation of the OSS 117 in a way but without the irony.
To me, the Seventies were very inspirational and very influential... With my whole persona as Snoop Dogg, as a person, as a rapper. I just love the Seventies style, the way all the players dressed nice, you know, kept their hair looking good, drove sharp cars and they talked real slick.
I did more sessions than I remember doing. There were a lot of things in the Seventies that I played on that people keep reminding me about.
Back in the Seventies, we had a romantic, poetic vision of the future, like it was in the movie '2001: A Space Odyssey.' It felt as if everything was still ahead of us.
I think there's an audience for The Wombles at almost all levels. We thought it was going to be confined to people in their late twenties, early thirties, who remembered it from before - they were maybe 10 or 12 in the Seventies when it was happening.
A lot of times people get to a certain age and they quit. I always felt sorry for the Frank Capras, the Billy Wilders, directors like that, because they quit in their sixties. Why would you quit? Think of the great work they could've done in their sixties, seventies, and on up.
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