A Quote by Robert Downey Sr.
I'm not going to stop just because I'm 78. Bunuel made films into his eighties, and he could hardly see. I hope I don't run into that problem.
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Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.
By 78 you've done everything you're going to do. If you haven't bungee-jumped by the time you're 78 you're not going to do it.
Tell ya what I'm gonna do, see. I'm not going to hope. Now, you don't either. Don't hope your life will get better. Just make it so. Don't hope you are able to handle this baby. Just do it. Just be glad, just move fast, just do what you need to do. But for god's sake, don't hope. Just be...Just be.
I came out to L.A. in '78 to be a musician. I didn't get into comedy until the mid-Eighties.
They benefit from all these people, "I just don't like the fighting. Could you stop the shouting? All I want to do is just get along." They're easily able to bulldoze large groups of people into laying down and letting it happen in the hope that this will be peace, in the hope that there will be no confrontations, in the hope that the shouting will stop.
It was Tim Burton's 'Batman' in, what, '89, I think? What we could see was there was someone behind the curtain controlling all of this, and you could see it from one Tim Burton film to the next, that the guy who made 'Edward Scissorhands' also made 'Batman.' You could connect the dots because his style was so distinct.
You have to nail the right tone because sometimes when you just see his films cold, you're not quite sure. It's the same in - I'm trying to think of other directors with a similar sense - David Lynch's films, Tim's films, some of Cronenberg's stuff.
What I want to do is make films that astonish people, that astound people, and I hope you want to do that too. It's easy to make money. It's easy to make films like everybody else. But to make films that explode like grenades in people's heads and leave shrapnel for the rest of their lives is a very important thing. That's what the great filmmakers did for me. I've got images from Fellini, from Bergman, from Kurowsawa, from Bunuel, all stuck in my brain.
If films could run because of performances, everybody's films would do well. It is the director who makes the film.
I saw my town as if I had just arrived. It was as if I was waking up. You see houses and buildings every day, and you walk by them on your way to something else, and you hardly see. You hardly notice they're even there, mostly because there's something else going on right in front of your face, But when the town itself becomes the thing that is going on right in front of your face, it all changes, and you're not just looking at a house, but at what's happened in that house before you were born.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
We have made a commitment to feed 20-million people over the next two years. We are somewhere around 10 million. But I can promise you that we are not going to stop at 20 million. Because hunger, there is almost no cure for it. You can take care of the problem today, but it is a recurring problem.
Obama ran on a platform of unmitigated optimism - a promise to usher in a brighter day for America. But there could hardly be a greater contrast between his pledge and his performance in office, between his commitment to the nation and his current abandonment of all hope.
One thing that was really dope for me was that my dad had a '78 Corvette, '78 or '76 Corvette all my life. It always needed to be fixed up. I remember it's just been sitting in the driveway for years, and I got it fixed from top to bottom for his birthday.
You look at Japan and Hayao Miyazaki's films are the biggest films ever made in Japan; domestically there and they play to critical acclaim around the world. He won't put more then 5 or 10 percent computer imagery in his movies. It's disappointing to me. It's a silly choice that some studios made to move out of animation. It's part of the unfortuneate preconception that I think the public has going into see animation.
Once you get cocky that's when you start to, A, turn into an asshole to everybody and, B, make mistakes because you stop listening to people or they stop telling you because you're a cocky asshole. So I'm going to try and eat my humble pie every morning for breakfast and just hope that it turns out OK.
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