A Quote by Richard Belzer

When I was a kid in the '50s, I was very enamored of beatniks and... a kind of dark sensibility. — © Richard Belzer
When I was a kid in the '50s, I was very enamored of beatniks and... a kind of dark sensibility.
When I was a kid, I was always enamored by - I appreciated the movies, and I was able to see them on VHS when I was a kid, but I was so enamored by the one-sheets and the posters. I had them in my room when I was a kid.
As I became very conscious and more aware of things I got very into the beatniks and that kind of stuff. They were very important to me for a few years.
I grew up in Sacramento and spent a lot of time in the Saturday matinee. I just thought, 'Wow.' It's that magic of sitting in a dark theater as a little kid. That was in the '50s.
We had been reading about these beatniks who hung out or lived in Greenwich Village, and we wanted to find out what a 'beatnik' was, and so a friend and I went right to the source. What we learned, of course, was that beatniks were mostly artists.
For me, sensibility is the location of talent. Sensibility comes first because only with the right kind of sensibility is talent useful. I've met many people who are extraordinarily talented but have no capacity to go outside of themselves or their field. I love those people, but they would not succeed in our culture.
I joke that I learned the essentials of storytelling from Hanna-Barbera, but I pretty much did. That kind of television is what enamored me as a kid, and that's what really got me hooked. You could say that's where it all began.
New York is all about sort of a corporate sensibility, and it is squeezed out room for any other kind of sensibility, money talks, bullshit walks, I guess.
There's always been a confusion about my sensibility. 'Is he kind of edgy, or is he Carol Burnett?' I'm a little bit of a hybrid. I like to please, but I like dark stuff, too.
I've been very fortunate and met the guys that have become, basically, philosophers and have a kind of sensibility about life that's very precious.
I've always been very enamored of European newsmagazines - the 'Spiegel' kind of magazine, which has an energetic, high-low approach to news.
When I saw 'Fleabag,' and when this script came to me, there is a uniqueness and a dark naughtiness to Phoebe Waller-Bridge's sensibility that I did gravitate towards, very much.
By the late '50s, something was happening in England, and it got to be quite exciting. The music world then started to explode with the Beatles and the Rolling Stones. It was an incredible time with this mixture of independence in art, fashion, and the explosion of the pop sensibility. London was certainly at the center of it all for a few years. And as far as art is concerned, I think that sensibility of what was later called Pop art started in England even before America. And so I was lucky to be there.
I'd like to start writing scripts. I think I'd probably be inclined to write a very dark comedy or a tragic romance. As a kid, I used to write really dark stuff.
I think - I think I've always been kind of - I used to think of myself as a piece of rubber when I was a kid because I was kind of very shy and very - very emotional about things, but I kind of would bounce back.
As a kid I was enamored with fiction, most of it utterly forgettable and long forgotten.
I was enamored with Charles Dickens as a kid, and his names blew me away.
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