A Quote by Terry Zwigoff
The first scene I ever shot for 'Louie Bluie,' on that first day, I had never seen the camera before. I didn't know where to put it. I just knew what was strong about these guys and what I wanted to capture, so I tried to work backward from there and figure it out. Trial and error. Hopefully I got a little bit better at it.
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I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.
The first scene I ever appeared in, it was the first scene I ever shot [during my] first day on set. I walk up to my mom with a plastic bag over my head and she says that her clothes better not be on the floor, not that a plastic bag is not a safety hazard or anything. I think it's a really cute scene and also just a very vivid memory.
That movie was my girlfriend. That was my girl." I knew there was going to be initial anger. As a matter of fact, when I was deciding to do Footloose that was one of the first things that I had to realize. First of all, I had to figure out a human connection to it but then I also had to reconcile that I was going to get beat up a little bit on this a little bit.
The Ramones were a great bunch of guys. They were very quiet, very shy. They were a little in awe of the filmmaking process, probably because we started at 7 a.m. I do remember the very first day of shooting, I met them and did the scene in the bedroom where Joey sings to me, and they were all scattered around my bedroom in my little fantasy scene. That was the first scene we shot of the movie. That scene is kind of a strange way to start a movie. "Okay, get undressed, and these weird guys in leather jackets and ripped jeans are going to sing to you."
There've been times where, like when I auditioned for 'Akeelah,' I think in the first audition I was a little bit afraid because it was, you know, I had seen girls in there that I had seen on TV before, and I was like, 'Man, I might as well just walk out of here now because I'm just a newcomer,' and this and that.
My first car, I got it in an auction at my temple. It was an '86 Volvo that I got for 500 bucks, and then wound up throwing $10,000 into the stereo system and put TVs in the foot rests. It was the most ridiculous Volvo you'd ever seen, but I had never had money before and I was out of my mind.
I just started trying to figure out how to write [something] which was unlike anything anybody had ever seen, and once I felt like I had figured that out I tried to figure out what kind of book I could write that would be unlike anything anybody had ever seen. When I started writing A Million Little Pieces I felt like it was the right story with the style I had been looking for, and I just kept going.
Never did I want to call the first time-out during a game. Never. I wanted UCLA to come out and run our opponents so hard that they would be forced to call the first time-out just to catch their breath. At that first time-out the opponents would know, and we would know that they knew, who was in better condition. This has a psychological impact.
I started on television. I had five years of network television before I ever got up on a stage. The first thing I ever did was in 1967. This guy Bill Keene had a little talk show at noon, and Gary Owens took over for a week. He knew about this dummy bit I used to do, this ventriloquist thing, and I was on 'Keene at Noon.'
Right away, I knew I didn't want to have that look of other guys with long hair and bell-bottom pants, because everybody else had that look. I kind of adopted my boarding-school look, which made me stand out. Then the next thing you know, the first song on my first record is a song called "School Days." It's about going to the boarding school I went to. So then I just started to write about myself. The very first song I ever wrote was about a guy I met in a boatyard that we were working in. So I've always had this thing about sticking to more or less what I knew.
I always stay out of the rehearsal room you know when they first come in. Then once they had chance to play a little bit, then I walk in. Because I've seen guys fall apart.
When I made my first film, I had hardly ever seen a camera before, and I was a young man when I arrived in Paris from the suburbs. At the time, I didn't talk much. I was very shy, so the bluff served me. I was telling people that I had no money, and that I knew how to make films, but I had no proof.
Every shot feels like the first shot of the day. If I'm on the range hitting shot after shot, I can hit them just as good as I did when I was 30. But out on the course, your body changes between shots. You get out of the cart, and you've got this 170-yard 5-iron over a bunker, and it goes about 138.
Before I got divorced, I was personally unfamiliar with trial, or at least trial of serious, heart-wrenching proportions. I figured that life went smoothly if you tried hard, and if you messed up, or things weren't working out, you just tried harder.
No, I never really set out to be a stand up. I wanted to be a writer of some sort. I thought I'd do a bit of stand up and hopefully that will lead to stuff and little did I know it kind of snowballed. Before I knew it I was doing stand up 300 nights a year.
If you were the first person ever to design an application for the iPhone and you patented it, you would be very, very better off than we are right now, you know? But you've got to be the first one to do it. So I figured that Led Zeppelin or the Stones were going to do it unless we just got on to it. So I got cracking with the guys from Apple.
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