A Quote by Robert Osborne
I still think of Columbia as one Rita Hayworth movie a year, or maybe one a year directed by Frank Capra in the '30s. To see how many really outstanding movies Columbia made, and all together, is kind of eye-opening.
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I signed with Columbia for two reasons. One reason I saw two of Frank Capra s pictures in Paris, and I want to work with him. Then at Columbia, in Harry Cohn, there is only one judge to please. I could not face the juries of fourteen that I have heard about at so many large studios.
I got to watch Frank Capra, in his eighties, in action. You read all the stories about Frank Capra fighting with the head of Columbia, Harry Cohn, "It's my way or the highway." I got to watch that. He lambasted me, "You cannot do this. You will fail." Finally, after another hour of conversation, I convinced him to help me write the speech.
I did a year at Columbia, and I just kind of floundered. Maybe it wasn't the right place for me.
When Minutemen leader Jim Gilchrist and his black colleague Marvin Stewart were invited by the College Republicans to speak at Columbia last year, the tolerant, free-speech-loving Columbia students violently attacked them, shutting down the speech.
I didn't realize - you think you are doing a movie but then you realize it's a Columbia Pictures movie so it's probably going to have some publicity. Then you see a billboard and it's like, 'God! I'm on a billboard!' It doesn't hit all at once, it kind of unravels itself and it's still unraveling.
We have never lost a crew member on the space station, but of course, the Columbia accident. I was - I'd already been an astronaut for a decade when the crew of Columbia was killed. And I went through test pilot school. Rick Husband and I were out at Edwards at test pilot school together. He was the commander of Columbia.
It's hard to really get that excited about movies. Think about it like this: how many good comedy movies come out a year? Maybe one or two? And then, in those movies, what are the chances that there's a character that I'm the best fit to play? It's really small!
I was born in a little town called Lund in British Columbia. It's like a fishing village. My parents were hippies. They tried to live off the land, so I grew up in a log cabin, and we didn't get running water until I was 4. The next year, we got electricity. Then we moved to the city, Victoria, British Columbia, so I could go to school.
It's gonna be weird how there are going to be new 'Star Wars' movies every year starting in 2015. I don't know what that's going to be like, having one every year. Maybe it'll be perfect. Maybe it'll be just the right amount of time to have something to look forward to. Maybe it'll be too many at once.
When you leave WWE, like, when I left, I was thinking, 'Maybe I'll take, like, a year off, and in that year, I'll probably do a Marvel movie, maybe a couple of movies. I don't know.' And, obviously, completely unrealistic.
I think it was Columbia politics, Columbia Records politics that, that, Tom Wilson left [Bob Dylan] after "Like A Rolling Stone".
I went to visit Frank Capra, one of my idols, and did a kind of Judd Apatow interview with him. I said, "I'd like the Statue of Liberty to disappear, but I want to do it as a lesson in freedom, how valuable freedom is and what the world would be like without liberty." And Frank Capra looked at me and said, "David, I love your idea, but here's what you're going to do. You're going to try and it's not going to work; it's not going to disappear." And I said, "Mr. Capra, I can't do that."
If you go out and see a lot of movies in a given year, it's really hard to come up with a top ten, because you saw a lot of stuff that you liked. A top 20 is easier. You probably get one masterpiece a year, and I don't think you should expect more than one masterpiece a year, except in a really great year.
At that time, I was signed to Columbia Records as an Independent Producer. I spent many weeks forming, auditioning, rehearsing and recording demos for Kenny, who was finally signed to Columbia Records.
When I was young, I went to college, had a teacher who was, had been a student of Trilling's at Columbia, this was in California. And he, I started reading him around that time, and then I went to Columbia as well, Trilling was still teaching there, I took a course with him. He was not a great teacher, but he was, when I was younger, he was a good model for the kind of criticism I wanted to do, because he thought very dialectically.
I loved all those classic figures from the '30s and '40s... Bette Davis, Joan Crawford, Humphrey Bogart, Rita Hayworth. They had such glamour and style. I loved the movies of those times too - so much attention paid to details, lights, clothing, the way the studios would develop talent.
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