Zitat des Tages von Christopher Guest:
I guess there's something that's appealing to me about people that are aspirational-slash-deluded.
I've been buying guitars since 1964, and you fool yourself into thinking it's the last one.
I started on the clarinet. I was going to a music school - my mother took me - and the guy said, 'What do you want to play?' I said the drums, and my mother said, 'No, you don't. You don't want to play the drums.' So I said, 'Maybe the trumpet would be cool.' And my mother said, 'I don't think so.' And then the clarinet was handed to me.
People who take themselves too seriously, who can't see anything else, are usually funny.
In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.
I wouldn't say I'm a connoisseur of film. I like certain films, but I don't pretend to be a connoisseur of films, no.
In 'Waiting for Guffman,' the character I played, the Corky character, he's very serious about what he does, and it's not meant to be mean that this is a small town and these people aren't the most talented people. They're trying the best they can. So to be mean, that would be kind of horrifying in its superficiality.
With a documentary, you can cut away, you can do jump cuts, cut to a photograph at any point to bridge two scenes.
There's something about that idea of looking up and hoping, and thinking, 'I'm good.' Some things, like show business, are absolutely subjective. People look at a TV show and think, 'I could do that.' And maybe they could do that. But they're not.
You can't improvise without a skeletal structure; you can't just go in and start talking. This is a very misunderstood craft because no one else makes movies like this.
I like to play music, and I like to be funny, so I just do both at the same time.
I rarely joke unless I'm in front of a camera. It's not what I am in real life. It's what I do for a living.
I find it really appalling when people talk about comedy.
If you didn't know who I was, if I was to walk out on the street without people knowing who I am, you'd think I'm an accountant or a lawyer.
The fun part about doing our movies is that you're creating something using the talents of people rather than finding these pathetic people who are thrust into these situations. That, to me, is completely artless.
If you're deluded, you live in a place where there isn't everyone else's reality.
I don't think we've ever known what the hell's going on when we do Tap shows. It's possible the audience are effectively getting to see more of the movie when we play. You know, they know the songs, so anything we do onstage, whether we're meaning to or not, is an extension of the film. Other than that, I wouldn't understand what's going on.
I haven't had to do anything outside of show business my whole life. I've never been a waiter. I've only worked and gotten paid. It hasn't been a classic example of someone slogging through the business.
I am interested in the notion that people can become so obsessed by their world that they lose sense and awareness of how they appear to other people. They're so earnest about it. But that's true of so many things.
My passion is more specific, in the sense that I've always liked doing comedy. I've always liked doing music. I like acting. And apparently, you need those things in movies.
When you hear someone talking in a restaurant or overhear someone talking on the street, there are very different patterns of conversation than you would hear in a conventional movie.
I don't make movies that make fun of anything.
It's difficult to articulate how I know it's the right actor, but I do. It's instinct. Intuition.
Many times I'll improvise it, which isn't done a lot in movies or commercials. But a lot of my commercials are improvised.
Comedies don't get nominated for Oscars. It doesn't happen. So when we set out to do a movie, it's not what we're thinking about.
There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage.
If you don't like the people, you're just doing a sketch. Which, in most cases, is comedy minus some emotional backbone.
Mean doesn't last. Mean is over fast. Maybe this is the essence of everything, which is, to me, if there is no emotional center for what I'm doing, I have no interest in it at all.
There are dozens and dozens of improv classes across the nation, but it really cannot be taught.
Peter Sellers is my great comedy hero.
It's infrequent that that happens - great performances and magical cinematography and great direction.
Some instinct has told me I need to live in a world that isn't consumed with reading about myself or anyone else or someone's opinion about something. I need to be clear of that. It's just healthier for me. I feel happier.
You know it's important to have a Jeep in Los Angeles. That front wheel drive is crucial when it starts to snow on Rodeo Drive.
I love documentaries. My problem is when the filmmaker becomes the star.
People want me to be funny all the time. They think I'm being funny no matter what I say or do and that's not the case.
In 'Spinal Tap,' there's the fake historical quality of 'Stonehenge.' It's something the musicians look at with a mystical reverence. In folk music, it's the seriousness with which these people approach their 'art.'