A Quote by Rudy Rucker

When I see an old movie, like from the ’40s or ’50s or ’60s, the people look so calm. They don’t have smartphones, they’re not looking at computer screens, they’re taking their time. They’ll sit in a chair and just stare off into space. I think some day we’ll find our way back to that garden of Eden.
I had something called the back of the chair test. Where I sit, we don't sit like you and I do. I can see a sliver right behind them and they come out and they sit like this like god students and they don't touch the back of the chair.
You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other - the wordplay. I think we've really lost that in movies.
You go back to those films of the '40s and '50s and hear the dialogue, the way the people played off each other, the wordplay. I think we've really lost that in movies.
It feels like now I - you know, I'm almost 80 years old - I can sit back and retire, you know, and say, 'Look, our young people are taking over.' And that's great. That's what I'd like to see.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and don't want to look like grandmothers.
I saw a nice interview with Dave Binney recently. He was saying, "Man it was never easy. It's not like 'Oh wow, the good old days.' What, when certain people couldn't vote?" There was more work for musicians in the '40s, '50s, '60s. But I don't think it was ever easy.
I wanted to create clothes for women in their 40s and 50s and 60s who have careers and are sexy and dont want to look like grandmothers.
Now that I'm taking some time off from school, I've been reading a lot to make sure I don't forget everything. It's mostly classics and nonfiction accounts from actors, directors and writers from the '40s and '50s.
Now that I'm taking some time off from school, I've been reading a lot to make sure I don't forget everything. It's mostly classics and nonfiction accounts from actors, directors and writers from the '40s and '50s
Well, probably the best way to put it might be that at some time, not just in an instant, but over some period of time I became aware of the fact that I wanted to document examples like Kroger or Piggly Wiggly in the late '50s, early '60s.
Watching old movies is like spending an evening with those people next door. They bore us, and we wouldn't go out of our way to see them; we drop in on them because they're so close. If it took some effort to see old movies, we might try to find out which were the good ones, and if people saw only the good ones maybe they would still respect old movies. As it is, people sit and watch movies that audiences walked out on thirty years ago. Like Lot's wife, we are tempted to take another look, attracted not by evil but by something that seems much more shameful -- our own innocence.
I think that certainly the artists of the '40s, '50s and '60s were fighting a very conformist society, which didn't give them enough space to live or create, and they were bucking all kinds of spoken and unspoken rules.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
That's what [Frank] Sinatra did. He was the first artist to come out in a major way against anti-Semitism and racial bigotry. And those are huge things back in the 50s and 60s and 70s - and he was doing this in the 40s.
I don't think quotas are necessarily an evil. I think when we look at industry in general back to the '60s and the '50s, the way more diverse people like my dad and mom's generation were able to break into industry was because of affirmation action, because of quotas.
I grew up watching a lot of Egyptian movies. My parents had this huge VHS collection of every Egyptian movie you can possibly imagine, and Egypt was kind of the Hollywood of the Middle East back in the '40s, '50s, and '60s. That was my first education in film.
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