Hal Holbrook Quotes
Quotes to Explore
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I have to be able to rap. I don't have the look. I don't have the typical slim-dude, fancy-clothes look. That's not me. I have to be able to rap - there is no other choice, or else I get eaten alive.
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I call myself a feminist, not a feminist filmmaker. If somebody asked me if I had a feminist sensibility it would be pretty hard to deny, but is it the theme of my work? Not necessarily. I'm interested in a lot of things.
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The Kiss scene was attempted three times. The first was in a peculiar spot of the fort on the ground level. It felt forced to me, and I knew right away that, in spite of what others were saying, it was dead wrong.
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People desire power. I don't know why they want it so. It seems to me it implies a hugely superior intellect which separates them from most of the populace.
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I'm not a pretty person. I don't like pretty, so I don't feel badly. Most of the world is not with me, but I don't care.
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Feeling comfortable in my own skin has never been easy for me.
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I did a sitcom with Desi Arnaz Jr. in a pilot called 'Whacked Out.' We were bombing, and Lucille Ball grabbed the mic and started berating the audience.
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Every story I create, creates me. I write to create myself.
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I don't think I'm going to become Brad Pitt overnight, but I presume if walk down Oxford Street, there is a chance someone might clock me.
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I like something where I can really use my imagination and be an active participant in the construction of the monster and usually that's in the world of the supernatural or the world of the fantastic, so that's why those kinds of stories about demons and the supernatural appeal to me or maybe I'm really interested in that subject.
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What's really important to me is somebody who can totally let loose and pretty much be themselves and have fun.
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One minute, it seemed I had more movie offers than I could handle; the next – no one wanted me.
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The most memorable engagement for me, I suppose, was an away-day to Leicester. I went without William, so I was rather apprehensive about that.
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If everything gets too serious for me on the album, I get kinda bored. I've got to have some kind of jovial things in there.
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Everyone at a party is uncomfortable. Knowing that makes me more comfortable.
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I used to sit in front of McDonald's and ask people for dollars to get me a cheeseburger. It was bad.
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One of the things that's really, really present in 'Between the World and Me' is, I am in some ways outside of the African-American tradition.
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I felt that Balanchine was my father towards me. He was the person I most admired and looked up to.
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I simply seem to drift. But I sort of allow the drift, because it has a kind of check – it forces me to work harder at what I'm interested in.
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The street in the center of town was Butts road. I stole the sign and told the audience, this must be where the assholes live. I also had a Neighborhood Crime Watch - it takes about 20 seconds to break into a house but it took me an hour to unbolt this sign.
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A kid now can practically record a song or edit a short film on his way to school. I think that will produce, perhaps, more less-interesting things - or you'll have to search more to find the interesting things. But I also think it's exciting.
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Look at this, scabs and cuts all over me, I get these every night, every game. They can't tell you that you're not at risk, and you can't tell me there's one guy in the N.B.A. who hasn't thought about it.
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Musical theatre is something that I always wanted to be a part of, and my first ever role on the West End as Joseph in 'Joseph And The Technicolor Dreamcoat' gave me a taste for it.
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I don't have a director. The audience directs me.
