Quotes of All Topics . Occasions . Authors
It's not a straight line to do anything breaking the law. Because if it is, basically you're saying if I cop to having PTSD, I can go out and slap somebody around all I want, and when the cops show up, I can claim I am a veteran, and I got PTSD - that's not how that works.
You remember Donnie Brasco? It's the most notorious undercover movie ever; it's so street and so real. If you ever imagined yourself doing cop work, you imagined yourself getting pushed to that limit - seeing the furthest you can push yourself while still upholding the law.
I do believe that any sort of electromagnetic energy that can be measured beyond the moment of death is, by the definition of energy, eternal. But I cop to the fact that calling it a 'soul' and presuming it sustains our consciousness in any form is, to put it kindly, a leap.
In the middle of the night, when you're ambiguously ethnic, like me, when you're brown, beige, mauve, siena, one of those lighter browns in the Crayola box. You have to be careful of the cops and robbers, because nobody's quite sure what you are, but everybody has assumptions.
I have a new show now called 'The Bridge,' where I play a guy who's a real-life guy. My character's based on the life of a guy named Craig Bromell who was a cop for 12 years and then became head of the police association, so basically the president of the union for 85,000 cops.
In February of 1972, a snowstorm blew into Kansas City, and I decided to hitchhike to California. The roads were icy, snowflakes howling, and nobody would drive me to the highway, so I humped through the snow and ice and caught a ride with a concerned cop to the Kansas Turnpike.
I somewhere along the way became fascinated with exploring characters who are willing to put themselves into violent situations, whether it's football, hockey, boxing, being a cop, being a soldier. There's not a lot of people who are willing to put themselves into those situations.
When you have a cop approaching your car with his hand on his gun, I know it may be protocol, but us being the people we are, you automatically feel as if you're a criminal. So where's the respect then? You probably won't respond the correct way. So how do we find a common ground then?
I was going to go to a midnight screening of 'Pee-wee's Big Adventure' in college, and it's the sort of thing where people dress up. So I got dressed up, and then I got lost. I was speeding, and a cop pulled me over while I was wearing a Pee-wee suit. That's a hard ticket to get out of.
'The Choirboys' is very much a product of its mid-1970s time, especially in its two-dimensional portrayals of cop groupies Ora Lee and Carolina Moon, but the energy of Wambaugh's newfound, blackly comedic voice is a revelation, a trap-door opening into all facets of a policeman's world.
Being a cop is often seeing the worst of the human condition and behavior. With all of that said, there is no reason that Mike Brown and also Eric Garner are dead today - except bad policing, excessive force, and the hunt-and-capture-prey mentality many thrill-seeking cops have adapted.
I can fully appreciate the fury and anger that a person can feel when put through a humiliating experience by a cop, but I would recommend strongly that a person maintain his cool, and in no circumstances lose his temper. If you lose your temper, you are playing right into the cop's hands.
I went home one night and told my dad that an older kid was picking on me. My Dad, a Korean War vet and a Chicago cop for 30 years, told me, 'You better pick up a brick and hit him in the head.' That's when I thought, 'Wow, I'm going to have to start dealing with things in a different way.'
It took me a while to understand the meaning of a franchise: the reasons why you see lawyer, doctor, cop shows. It's not because anyone in their right mind says, 'You know, what's the most fascinating thing in the world?' It's because you need something new that happens every week in a frame.
I'm unique for a suspense author in that I don't have a specialty background. A lot of suspense writers used to be lawyers or crime beat reporters. I didn't even know a cop when I started out. I finally figured out that I could visit prisons - I just had to be willing to make the phone calls.
When I did 'Bird,' it was a surprise to some people, first because I wasn't in it and second because most of the films I'd been doing were cop movies or westerns or adventure films, so to be doing one about Charlie Parker, who was a great influence on American music, was a great thrill for me.
My siblings and I, we were raised on TV and films. Not a day went by that we weren't watching one of three movies - 'Caddyshack,' 'Animal House,' 'Beverly Hills Cop' - on rotation. Our comedy, our personalities were set watching 'Sesame Street': these really sort of wacky, Jim Henson-y characters.
If I write a cop show, it's not up to me to decide how different it is from 'Law & Order.' I had screenwriters go on and on and on about how their cop show isn't like any other cop show on TV. They made very good points, and it absolutely doesn't matter. It's entirely up to the audience to decide.
Maybe it's stress or anger or adrenaline or disillusionment or a bullying nature or simple fear of getting killed themselves, but there is a problem if a cop cannot tell the difference between a menacing gangster and the far more common person they encounter whose life is a little frayed and messy.
New York cops are very specific in terms of the way they talk and the way they handle themselves. All these cliches that, as an Englishman, I thought were from a bygone era or were a bit of poetic license with cop shows - the more you hang out with them, the more you realize how real that jargon is.
If the real radical finds that having long hair sets up psychological barriers to communication and organization, he cuts his hair. If I were organizing in an orthodox Jewish community, I would not walk in there eating a ham sandwich unless I wanted to be rejected so I could have an excuse to cop out.
A lot of people think that comedy is sort of a cop out to not wrestling seriously, but I actually would argue that comedy is much more difficult than wrestling seriously because you have to be creative in almost everything that you do if you want the comedy to make sense within the realms of pro wrestling.
When I went through the Simpson case, I was a cop. Then I was a good cop. Then I was a bad cop. Then I had the media camped out in front of my house when I retired. Then, you know, I am the evilest thing on the planet. Then I write a few books, and then I start getting involved, like the Martha Moxley case.
Coming up in the Bay Area and being African American in a city that has a history of complex issues of violent crime, interaction with the police is always intense. That's something you have to learn. My mom taught me at a young age that if ever a cop stops you, you put your hands up and freeze - don't move.
I have a lot of cop friends that I'm close with and we talk about these things. I always ask them, 'In this situation and in this scenario, what would you have done or what should've happened?' If a guy doesn't have a weapon or doesn't seem like he has a weapon, drawing your weapon should never be the answer.
My first audition happened to be for 'Kindergarten Cop,' and I took that role. I was only starting to learn English at that point. Spanish is my first language, so they made me a speaking character in the movie. I didn't really know I was shooting a movie. I was just having a lot of fun with 30 kids my own age.
Everyone says I drive like my grandfather, but that's not always a good thing because he didn't always watch the road because he'd talk to you and look at you. He was a deputy sheriff, a cop, for a long time. So he was always looking around, checking out other things, other than what's directly in front of him.
It's Will Ferrell, he does Will Ferrell movies. But if you really look at it, he tries to do something different with each one, whether it's an action cop movie like 'The Other Guys' or doing 'Talladega Nights' going into red state America or 'Casa de Mi Padre' or 'Stranger Than Fiction,' which is more of a drama.
Before 9/11, I was playing a wide range of characters. I would play a lover, a cop, a father. As long as I could create the illusion of the character, the part was given to me. But after 9/11, something changed. We became the villains, the bad guys. I don't mind to play the bad guy as long as the bad guy has a base.
I would like to fire every cop in America and start from scratch. We don't need as many of them, and the whole model of policing is completely off the rails. For the most part, the police are engaged in very little protection of the public. That's probably 5 percent of what they do. The rest of it is writing tickets.
As a community, we're fighting for Asians to play Asian roles. And then there's the other battle, which is Asian Americans playing roles that aren't written for Asians, and I think that's something that completely should happen; Why can't an Asian American male just play a leading cop figure... or the Matt Damon roles?
I'm not a model; hence I don't see the reason to have a six-pack abs. I can pull off a tough and rugged look of a cop in 'Dhoom' series without taking my shirt off. Cops don't have to move around without a shirt to flaunt their machismo. What makes the character of a cop stand out is his attitude and not his six-pack abs.
Actors look at life in a different way. When I meet people, I know that one day I may portray that person or someone like them. It may be a cop or a homeless guy. It helps you to pay more attention to people. Everyone I meet, I retain something from them, something from their personality. It helps me to portray realism in my work.
'Axe Cop' is an animated show that just started on Fox that is based off the comic book series. And here's the hook: it's written by a 5-year-old. This 5-year-old has a brother who's, like, 28 and is in the business, and the little brother kept coming up with all these awesome stories for this character he dreamed up called Axe Cop.
Our main character is Klem Ristovych, the most senior detective in the MCPD. Klem's a dinosaur, the oldest cop working the Fuse, and nobody can believe she hasn't retired yet. Hell, she can hardly believe it herself. But what else is she going to do? Sit at home and watch soap operas all day? She'd throw herself out of an airlock first.
There's nothing worse than a director who feels more like a cop than a comrade, so I try to never give orders or create an environment where it's 'my way or the highway,' because actually allowing talented people to bring their originality and insight always brings more depth and complexity than if everyone has to do what you tell them to!
My mother was the first African-American policewoman in Seattle - recruited, actually - and she did it for only 2 years, as she did not want to carry a gun. She worked mostly on domestic disturbances. The NAACP wanted her to do it. She did not actually have the temperament to be a cop - she was very sweet. She had a Masters in social work.
If I'm a cop, and every time I see a young black youth - whether I watch them on TV, movies, or just see them hanging out - and they're not looking properly dressed, properly refined, you know, carrying himself, conducting himself proper hours of the day - things that a man does - you're going to have a certain fear and stereotype of them.
We had a cop or two that were questionable, and probably they shouldn't have been on the job, but they were. You have that: a police department reflects the community that it serves, and it's going to have a bad apple or two, but when those bad apples are discovered, they need to be discarded as quickly as possible so the whole bureau doesn't rot.
I love 'Donnie Brasco' and 'Days of Thunder,' so after I did 'The Skulls,' I was like, 'I want to be either an undercover cop, or I want to race cars!' Universal came to me with a newspaper article about street racing in L.A., and I was like, 'Are you kidding me? I grew up doing that right off Peoria in Sun Valley.' They asked if I wanted to do it.
What disturbed me most, frankly, about the Rod Rosenstein memo, is the fact it was addressed to the attorney general. The attorney general was supposed to have recused himself from anything involving Russia. And here he is recommending the firing of the top cop doing the Russia investigation, in clear violation of what he had, the attorney general, had committed to doing.
Every time a militant Islamist terrorist shoots somebody up, what does Barack Obama do and the Democrats? They come out and they demand that there be no backlash against Muslims. So any time a police officer shoots a black suspect - without knowing why, without knowing the circumstances - why doesn't Obama stand up and warn against a backlash against cops? If we are to guard against backlash against Muslim shooters, where is the sameness?