Top 397 Anderson Silva Quotes & Sayings - Page 7

The movies I've done with Wes [Anderson] have a much different quality than some of the more broad comedies. But what is interesting is how many sequels I've done. I've worked with Ben [Stiller] a million times now, and this is yet another sequel we're doing. I guess we're lucky to be in some movies that people wanted to see again.

The truth is, no one wants to face the fact that there was a huge double standard in baseball, and white athletes like Mark McGwire, Cal Ripken Jr., and Brady Anderson were protected and coddled in a way that an outspoken Latino like me never would be. The light-eyed and white-skinned were declared household names. Canseco the Cuban was left out in the cold, where racism and double standards rule.

At LVMH, we have amazing heritage brands, and we put interesting talents in those brands, sometimes very young, like we did at Givenchy with Riccardo Tisci at the time, or like we just did with J.W. Anderson at Loewe, but also talents that are already further along in their careers, like Raf Simons at Christian Dior or Nicolas at Vuitton.

My roommate in college in Austin, Texas, was Wes Anderson. Wes always wanted to be a director. I was an English major in college, and he got us to work on a screenplay together. And then, in working on the screenplay, he wanted my brother, Luke, and me to act in this thing. We did a short film that was kind of a first act of what became Bottle Rocket.

If we want to talk about the coarsening of the culture, I hope you devote a whole two hours for it and I would be happy to be a guest, but I'll also offer up some other guests. I don't appreciate many of the things that are said in our political discourse, I don't appreciate many of the things that are said on social media. You [Anderson Cooper] and I are attacked every single day, I'm sure.

I think somebody like Wes [Anderson] has a very good sense of style and is original. I think my sense of style got a little bit better after I was exposed to you guys at Valentino. Because I'm just in Hawaii and Malibu; it's just kind of T-shirts and surfing-type stuff.

Wes Anderson is a perfectionist, so you have to just be ready to try it this way, try it this way, try it that way, and then try it this way. And then, once you think you've got it all and it's done, then you're going to be called back in two or three months so you can try it that way and try it this way. You've got to give him all of it.

I definitely have some colleagues that I respect, and we get together from time to time. But I actually have just like genuine friends. Paul Thomas Anderson is a genuine friend. Robert Rodriguez is a genuine friend. Rick Richard Linklater is a genuine friend. Eli Roth is a genuine friend. And so is Edgar Wright.

I think that Anderson Cooper does a great job of staying with stories and pushing them. New Orleans he really... He was there and he pushed it past the point where his producers were saying, "Listen, you've got to stop because people are tuning out now. You know, we're on to another disaster." You know, what do you worry about, Haiti, Chile, Turkey? What? You know where do you put your attention and your focus? So for one person to really be able to cover all that ground would be tough.

I'd love to work with Paul Thomas Anderson or Quentin Tarantino, but these are dreams I don't need to rush to achieve. I'll be ready to make those movies when I'm ready to make those movies and they're ready to make them with me, if they ever want to.

Even when he transposes Roald Dahl's 'Fantastic Mr. Fox,' he injects so much of his own personality and his own world that it becomes a Wes Anderson story, and you forget that Roald Dahl is behind the story. That's the proof of great directors to be able to digest and recreate sometimes a classic.

And I remember walking in and there was this long, long table with everyone's name cards. I got there really early. The name card on my left said, 'Gillian Anderson,' and to my right was 'Josh O'Connor,' then opposite me was 'Olivia Colman.' I think I must have a picture on my phone of the table because my mind was just blown.

In America, even the critics - which is a pity - tend to genre-ize things. They have a hard time when genres get mixed. They want to categorize things. That's why I love Wes Anderson's films and the Coen Brothers, because you don't know what you're going to get, and very often you get something that you don't expect and that's just what a genre's not supposed to do.

When I got drafted I was sitting at home with my Mom watching the draft live on the internet when my name popped up on the screen. We both jumped up in joy and I immediately called my Dad who was out of town for work. Everyone was thrilled and then about 10 minutes late Matt Anderson (the Marlins scout who drafted me) called to give me the news as well and to start negotiating a contract.

Where I grew up in St. Louis, Saturday was country music day on television. We'd watch the Bill Anderson show, the Willie Nelson show, the Dolly Parton and Porter Wagoner show, and always the Grand Ole Opry. My parents were fans of that music, and my friend's parents would pull the TV out and watch those shows on the porch.

There are a lot of directors I'd still love to work with. Paul Thomas Anderson is someone I'd love to work with. I think Alejandro Gonzalez Inarritu is very talented. Ang Lee is very talented. I mean, there are a lot of people. There are many great directors out there.

And James L. Brooks then sort of became our mentor, brought us out to Los Angeles and worked on the script for a year with us. We learned so much working with him - just being able to spend time with him, the quality of his mind, the things he comes up with and says. I think Wes [Anderson] and I could go to dinner tonight and spend the whole dinner thinking and talking about things that Jim has said to us over the years.

Gail Anderson-Dargatz has a noticing eye, a voice as unique as the countryside she writes about, and a heart large enough to love her entire cast of distinct and memorable characters. In The Cure for Death by Lightning she fashions an irresistible song out of the joys and dangers of growing up, the mysteries and wonders of life on a farm, the thrilling terror of trying to outrun the awful unseen force that pursues a growing girl. This novel opens a door to a shining, surprising world.

The idea that you waited for that particular issue to come out, but then you planned your TV viewing for the coming season, it was a completely different world. And I grew up in Fort Lauderdale, so there was a TV critic writing for the Miami Herald, Jack Anderson, that was very influential. Just to read, every morning, somebody who cared about TV as much as I did - they were an adult, and they were clearly being paid for it. That was an "a ha!" moment for me before I was even 10.

To be a director, you have to think you're the best. Ever since I went to film school, I imagined that you have to think deep down that you want to be Martin Scorsese or you want to be P.T. Anderson. Like, am I as good as those guys? Absolutely not. I feel like I keep learning, and I feel like I keep getting better.

As an actor, you're just taking temperature. I am anyway, all the time, and responding appropriately. I was again cast very last-minute for Rushmore and met Wes Anderson, this quite physically and socially awkward man who didn't really talk to me much, a precocious and intelligent young boy. And Bill Murray. And we were sort of left in this bizarre hotel together and taken to strange locations around Houston. That was quite an isolating experience.

When I was young, I never bought records because my brother Joseph played saxophone and had a record player. I loved listening to his records: The Dorsey Brothers, Duke Ellington, all the big American jazz bands, and vocalists like Ella Fitzgerald, Ernestine Anderson, and Kitty White, a singer from the US who was a friend of Nina Simone. Nobody in America seems to know about her, but she was quite popular in South Africa.

There was a match in Alaska that I had with Beth Phoenix at a house show where we had a standing ovation from Ric Flair, Triple H, John Cena, and Arn Anderson. I got to work with her so much that we knew each other's body language. Got a standing ovation from the entire locker room. It was amazing.

I think also just being from the Midwest, my dad was a stoic Midwesterner, he always told me never take anything for granted and you have to work for what you get so. That's funny because my friend Frank Anderson said something really funny he goes, "A lot of the people from the midwest are the laziest shits I've ever met." And he's right. I know some. You can't say its a stereotype that only people from the Midwest are that way because there are definitely people I know who hate to work and just want to hang out and drink beer.

I should be the reigning champion. I punch a guy 300 times, he punches me a couple and they call him the champion? In what parallel universe does that make you the winner? I am the champion. I’ve been the champion. Anderson’s ribs have the exact same problem that his hands and his feet have, they’re attached to a cowardly person.

I didn't write any music at all, and then, I remember Jon Anderson being very insistent saying that there were two kinds of musicians: the ones who wrote music and the ones who didn't. And clearly the ones who wrote music were more superior human beings in his mind. So he kind of nudged me and sort of prodded me into it. I picked it up slowly. Then I learned more about chords and harmony and I just kept adding to that. One of the great things about having good players in your band is that you just ask them questions. You can pick up some good information that way.

Guys have made livings off me. Nick Anderson got a new contract. Travis Knight got a new contract off me. As a matter of fact, Derek Fisher called me yesterday to thank me. If you double me, I'm kicking out to Eddie, who's the best shooter in the East. Or I'm going to give it to Dwyane, or put it on the ground and come bang on you.

I like streaming music. I'll be in the car going, 'I want to hear Scotty Anderson.' He's a great guitar player not many people know about - maybe me and two other dudes know him. But I love him, and I can pull him up on Apple Music, and there it is, right there in my car.

Empathy - that is, caring about people and acting responsibly on that care, not just for yourself, but for others - this is something that Barack Obama understands very well. He was a professor of constitutional law at the University of Chicago for ten years. As an expert on the Constitution and on our family values, he understands very well that the country is fundamentally about caring for one another. The day after his speech, he was interviewed on CNN, and Anderson Cooper asked him what patriotism was. He said patriotism begins with caring for one another.

Imagine the first Burmese "giraffe woman"; she was probably a local icon in her village in the way she put the rings around her neck to sell her craft. Then she became a celebrity, so all of the wannabes started following her in that uncomfortable and unhealthy trend. But is that so different from Pamela Anderson? I don't think so.

If Katie Couric or Anderson Cooper asked me to come on to their shows and give them content every single day, I would do it because that gives me access to a huge population of people that I can hopefully, in some way, plant seeds in fertile soil, and those seeds would grow into oak trees of freedom.

I remember a conversation with James Anderson a few years ago about my skills and that conversation is something I can still recall. He said no two bowlers are the same, the way I bowl my outswinger will be different to the way you bowl yours so bowl to your strengths, keep it simple and don't try to copy another bowler for the sake of it.

I'd like [Santa Claus] to give Wes Anderson, the director, enough money in his next budget for an aerial shot - just a little copter shot. He really wanted this one helicopter shot, and Disney wouldn't give him the money. Just wouldn't give him the money. Every day, he was talking to the studio about this helicopter shot.

We are shocked and saddened by Bob Casale's passing. He not only was integral in DEVO's sound, he worked over twenty years at Mutato, collaborating with me on sixty or seventy films and television shows, not to mention countless commercials and many video games. Bob was instrumental in creating the sound of projects as varied as Rugrats and Wes Anderson's films. He was a great friend. I will miss him greatly.

Robert de Niro has always been fascinating to me. And if John Cazale were still alive, that would be a man I'd love to work with. I'm a big fan of Paul Thomas Anderson's films - I would be honored to work with him. I think he's a brilliant director, and he gets such compelling stories out of his actors and out of his crew.

I remember Kenny Anderson. He's got these huge stacks of Fed Ex envelopes. They were super-packed and he'd open it up and it would be all checks. He was always signing his own checks. He would always call me Kid.' He'd say, Kid, always remember to sign your own checks. Don't allow anybody to sign your checks.'

In his scintillating new novel, Matt Bondurant explores a crucial period in the history of Virginia and of his family. His gorgeous, precise prose brings to life an amazing cast of characters, including Sherwood Anderson, and the often deadly battles of Prohibition. The Wettest County in the World is a remarkably compelling, highly intelligent, and deeply moving novel.