Quotes of All Topics . Occasions . Authors
Irish fathers still have certain responsibilities, and by the time my two daughters turned seven, they could swim, ride a bike, sing at least one part of a Woody Guthrie song, and recite all of W. B. Yeats's 'The Song of Wandering Aengus.'
What I'm doing is basically the same as Bob Dylan did with folk songs and Woody Guthrie songs, the same as folk music's always done. I'm not going to sing about ploughing, but I'll write a song that sounds like it should be about ploughing.
I think Woody Allen calls it 'anxiety of influence.' When you're in your formative years and you watch a movie that makes you want to make movies... For Wes Anderson, it's Truffaut. I'm sure for P.T. Anderson it was Scorsese and Jonathan Demme.
I know that this sounds grand, but I don't try to compete with other people. I like to think there's enough pie for everyone. The kind of people I'm competing with are my heroes - Woody Allen, Billy Wilder - who I know I'm going to fall short of.
It'd be great to do some other TV. 'Breaking Bad' is definitely my home, but I'd love to have a nice hiatus gig, like a recurring role. Or to do a good film. I'd like to do a Woody Allen movie. I really didn't have a plan, and that's okay with me.
There's a reason Archie didn't go the way of Betty Boop or Davy Crockett or Woody Woodpecker, forgotten relics of a bygone era, and it's because when 'Archie' stories are at their best, anyone of any age can see a little bit of themselves in them.
I'm a huge Bob Hope fan, up until about the late '50s. I've seen so many of his movies up until then, and they're a big influence on me and a big influence on Woody Allen, who is basically just ripping off Bob Hope for his first five or six movies.
You know, I was really privileged to meet Woody Allen, who is now a filmmaker, let's be honest. He's also an actor. And he's classic. And because I have no conception of what classic fashion is now, I respond to his slightly outdated sensibilities.
I don't really believe in trying to erase every Woody Allen movie from history. For one thing, that's kind of unfair to all the people who worked on those movies or albums or whatever it is. What did they do wrong to have their work erased from culture?
The only folk I can judge are people like Woody Allen who I think is a genius, largely because I think he has beaten the system. He has his own company, and his films are all his own ideas. It's his direction, and so it comes out the way he imagined it.
Everybody always asks me what the big surprises were that I discovered about Woody and I never have a good stock answer for that, I never know quite what to tell them other than generally that he's much less neurotic and quirky than I would have expected.
I'm very physical. I'm extremely active, and I would love to do something a little more sexy and dangerous, a la Sophia Loren, or funny and humorous, a la Woody Allen. Getting to do things along those lines would be extremely wicked and a dream come true.
Woody Harrelson played a long-term love interest of Debra Messing's; I think it was for a whole season. They almost cast Nick in that part. They almost had given to him. But at the eleventh hour, Jim Burrows put in a call to Woody, and he said he would do it.
What I really like about Woody Allen's films is that there's a real investment in personal relationships. There is the idea that this is a serious concern worth making serious art about - how we love other people and how we can negotiate our relationships with them.
'Ernest Borgnine' is sort of my version of Woody Allen's 'Purple Rose Of Cairo' in that it's about the occasional difficulty of coming to terms with the cold hard facts and the temptation to escape into another world - like movies, for example. I'm a pro at escaping.
I've pretty much given up on the orange. I really have. I just don't even bother. It's just either sour, or woody, or the skin's too thick. It's very nice when you come across the perfect orange, because it's really a beautiful experience. But the stakes are too high.
I love having the control over the end result and not having to go through some committee to get something approved. I feel sorry for people, like actors, because unless you're Woody Allen or Mel Gibson, they don't have much say in the decisions that affect their work.
I always thought Woody Harrelson is quite a persuasive guy. He's the kind of guy who can call you up in the middle of the night and tell you, 'Let's all go get a donut!' And you're thinking, 'It's the middle of the night,' but somehow you still get up and go get a donut.
For 'Vicky Cristina Barcelona,' for example, Woody Allen is one of the greatest American directors, and we really had a very good working relationship. We understand each other really well. He gave me one of the best opportunities somebody has ever given me in my career.
Woody Allen is really the ultimate. I love that he believed in himself enough to do what he did. And I have that same feeling - that there's nobody that looks like me in movies, nobody would cast me as a romantic lead, but I want to do it and I feel confident that I can.
In a weird way, I never wanted - I don't consider myself a very good writer. I consider myself okay; I don't consider myself great. There's Woody Allen and Aaron Sorkin. There's Quentin Tarantino. I'm not ever gonna be on that level. But I do consider myself a good filmmaker.
People sometimes forget all the films that we've done. They remember the likes of 'Malcolm X' and 'Do the Right Thing.' But I've been working since 1986. From the beginning, I was determined to not just be a flash in the pan. I've got to keep up with Woody Allen. He's lapping me.
Historically, Hollywood comedy has arrived in skinny envelopes. From fence post Buster Keaton to herky-jerky Jerry Lewis to wiry nerve-bundle Woody Allen to hung-loose Richard Pryor to whippy contortionist Jim Carrey, its comics and clowns have tended to be sliced thin and bendable.
We grew up watching Woody Allen and Albert Brooks movies, and we see this neurotic, annoying, unlikeable male at the center of a story, and people root for him anyway. I think that's really what we have been craving as women is the hero who doesn't look perfect and doesn't act perfectly.
Steven Spielberg, Woody Allen, you name it - I'm interested. I'm free. I'm looking for acting work. At the same time, you have to find a role you're right for, and then there's a slew of other actresses. That's why I will pursue more directing. It's like, who needs a boss? I'm right here.
You probably can't name more than a handful of comedies that would qualify for Best Picture. I can think of a lot of comedy screenplays; Woody Allen has had numerous nominations for his screenplays. But most comedies are calculated. They tend to pander. They're not about anything important.
How movies are financed, it's a world market now... I feel like, you know, the independent film way of working is something that was in my bones. It's like being a part of a punk band, but no one's singing punk rock anymore. Only a few bands are able to play, and Woody Allen is one of them.
First off, I love Woody Allen. His early movies, like 'Hannah and Her Sisters,' are incredible. I also love anything by Billy Wilder, Ron Howard and John Hughes. I really grew up on the Hughes films, which are the ones I go back and watch all the time, just to see how they were put together.
I had heard all sorts of stories about Woody Allen's directing - directorial approach. And some of them turned out to be myth. But, one of them was that he doesn't rehearse and another was that he doesn't really direct, if he doesn't like it...he cuts it out of the movie, or even replaces you.
Barbra Streisand has always been an inspiration for me. I admire Jennifer Lopez because she's been against all the odds, and she's made such a name for herself, and she can put her name on anything and it sells, and I admire that about her, but Barbara Streisand and Woody Allen are my favorites.
In the the late seventies and early eighties, I played background roles in thirty movies... Woody Allen movies, Scorsese films, you name it. Whatever was being shot in New York, I was doing stand-in and background work because I wanted to be close to the camera; I wanted to see what was going on.
What created democracy was Thomas Paine and Shays' Rebellion, the suffragists and the abolitionists and on down through the populists and the labor movement, including the Wobblies. Tough, in your face people... Mother Jones, Woody Guthrie... Martin Luther King and Caesar Chavez. And now it's down to us.
I'm not a natural writer like, let's say - I'm not talking about Arthur Miller; that's a whole other thing - but let's say Woody Allen. But the more I've written, the more I've found that there is a deep well in me somewhere that wants to express things that I'm not going to find unless I write them myself.
A part of me looks at life from a dismal perspective, not unlike Woody Allen and Larry David. But I don't want to look at life like that. It's bad enough that I have to think it. What works for me is writing against that view. There is God, there is love, there is greatness, there is a plan, and there is beauty.
Woody Allen stayed so good because he never left New York. Howard Stern stayed so good because he never left New York - Mel Brooks when he just got out of New York was doing 'Blazing Saddles;' when he left New York he started doing stuff like 'Robin Hood Men In Tights' - he was in L.A. too long. He lost the edge.
I'm such a fan of actors and also enjoy watching them work so that I can help their acting in any way I can. Sometimes it walks a tricky line because you want to be entertaining to some degree. But honesty is always entertaining to me. I'm a big Woody Allen and Spike Lee fan, and I find their films to be very honest.
There is an amazing feminist writer called Lindy West; she wrote a very nice piece for The New York Times. She wrote about Woody Allen, saying if we can't go after your work or your career, we will go after your legacy. You will never be remembered the same way. I think a lot of women will have to take solace in that.
The first songs I learned were 'It Takes a Worried Man' and Woody Guthrie's 'Grand Coulee Dam,' 'Rock Island Line' - those kind of American folk songs that were probably on the edge of blues. After that was Eddie Cochran and Chuck Berry songs. And then I heard Muddy Waters, Jimmy Reed and Big Bill Broonzy on the radio.
I had heard all sorts of stories about Woody Allen's directing - directorial approach. And some of them turned out to be myth, but one of them was that he doesn't rehearse, and another was that he doesn't really direct. If he doesn't like it... he cuts it out of the movie or even replaces you. And he doesn't talk to you.
I love doing comedy, and that's the thing I will always go back to, really, but I'd love to have the freedom to do sort of 'meaty' roles but also have the freedom to do the sort of films I want to make, like what Woody Allen does. You forget he's funny because you're so gripped by the story, but they still make you laugh.
Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.
The only thing I really recommend, if you're starting out in stand-up is to not try to copy anybody else. You can be influenced by people. I was influenced by Steve Martin and Bob Newhart and Woody Allen, but I never tried to be someone else. I always tried to be myself. And the reason people are successful is they're unique.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
I was an absolute idiot, wearing polo-necks, reading Kerouac, watching Woody Allen movies, and jazz fitted right into all of that. My interest in that whole world became very genuine, but perhaps started off a bit affected - a mixture of right and wrong reasons. I was always drawn to non-commercial music, perhaps pathologically so.
Woody Allen was the reason I wanted to move to New York City and one of the reasons I wanted to make films. I felt that I understood his films, and I love them so much. When you're starting out, certainly, you have this sense of wanting to talk back to people who have influenced you, and I always wanted to talk back to Woody Allen.
From the onset of the 'Live-Read' series, we wanted to hit all the major writers and Woody Allen is simply one of the greatest screenwriters of all time. He has ability to match pathos and comedy and drama and then turn it all on a dime. If you're going to make a series based on dialogue, you can't find much better than Woody Allen.
A lot of my comic influences are distinctly American: Woody Allen and Bob Hope, for example. They were always the underdogs who were using wit to sort of battle their way through. And it seems to me that a lot of contemporary U.S. comedies are shot through with losers. None of the characters in 'The Big Bang Theory,' for instance, are studs.
I personally find it difficult to accept that there could be anyone on earth insensitive to the comic abilities of Laurel and Hardy, Sid Caesar, Woody Allen, Mel Brooks, or Martin Short. But no matter who the comic entertainer is, there is always at least a minority prepared to say, 'What's all the excitement about? He doesn't seem funny to me.'