A Quote by Zephyr Teachout

When I was in college in the late 80s-early 90s, there was a sense that history was on a straight path toward democracy everywhere. Well, that's not true. It was also not true that there's a single era of oligarchy, because we showed we could do something about it.
I made songs in the late '90s and the early new millennium that didn't succeed very well, but songs that I made in the late '80s, early '90s, they stood the test of time. I respect those songs for keeping me relevant.
If Star Wars had been released in the late '60s, or late '80s, or late '90s, adjusting for technology, it fits spectacularly well.
I got into computers back in the early '80s, so it was a natural progression of learning about e-mail in the mid-'80s and getting into the Internet when it opened up in the early '90s.
I think in the late '80s and early '90s horror was dead.
I'm really excited that the studio is trying, because when I began my career in the early '90s, late '80s, Disney was not something - though I respected it and liked what they were doing in those years - it's not like I thought I wanted to be a part of that studio right now.
They say history always repeats itself and I pulled a lot of inspiration from the '90s and '80s and '70s. I don't know if I was born in the wrong decade or something, but I really gravitate towards that era.
All the people in the late '80s and early '90s were really hell-bent on doing something for themselves, and they wouldn't take no for an answer. There was a lot of determination, and I was definitely part of that way of thinking.
That era in the late '80s through the '90s was really when the music was so new, fresh, energetic, but still creative. It hadn't quite gotten corporatized yet.
Comedy clubs were something that came to pass in the '80s, but toward the end of that, in the early '90s, people started doing comedy again in alternative spaces.
The hip-hop that I really connected with was Public Enemy, KRS-One, Ice Cube, and N.W.A. That late '80s and early '90s era. The beginning of gangster rap and the beginning of politically conscious rap. I had a very immature, adolescent feeling of, "Wow, I can really connect with these people through the stories they're telling in this music."
We all grew up in that era. I'm a little younger than these guys [Will Forte and John Solomon], but I would say all of us are huge fans of the original "MacGyver" series, and obviously we found that inspiration for the original pitch for MacGruber. We took his name and made it stupid. In terms of the inspiration for the movie, that really came from our love for late '80s/early '90s action movies - the whole "Lethal Weapon" series and "Rambo" and "Die Hard," every single [Arnold] Schwarzenegger and [Sylvester] Stallone film.
Neil Gaiman's 'Sandman' just rocked my world in the late '80s and early '90s. I couldn't read them fast enough.
It's only when it's smoothed out by history and we try to make sense of it - this incredibly complicated period when everyone's doing something different every day - that we look for those stylistic similarities and we say, "Well, that's what that was about," and sort of forget all the other nuance. I definitely feel that that's true for this time in my community of artists, and I'm sure that it was true at other times too.
Um, 'Soul Food'... Another wonderful little movie that could. Here's a film that, I think our budget was maybe $6 million. We shot it in Chicago in six weeks. I was so proud of the film, because it showed America that an African-American film about family could sell, could do well, could cross over and have true meaning.
I love Cronenberg so much, especially the films he was doing in the mid to late '80s and early '90s, like 'Naked Lunch' and 'Dead Ringers'.
In the late '80s and early '90s, I took success for granted, winning four or five tournaments a year. I just expected to win them.
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