Alex Gibney Quotes
When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
Quotes to Explore
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People go to movies on Saturday to get away from the war in Iraq and taxes and election news and pedophiles online and just go and have some fun. I like doing movies that are fun.
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I used to stay up all night playing 'Resident Evil 2,' and it wouldn't stop until the sun came up. Then I'd walk outside at dawn's first light, looking at the empty streets of London, and it was like life imitating art. It felt like I'd stepped into an actual zombie apocalypse.
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Throughout my Enterprise career, I have been primarily operationally focused.
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I have never appreciated a quiet moment with a friend as much, a quiet moment with a book and I think part of that is my obsession with being older and time going faster and it's become increasingly sweeter for me.
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I love rhymes; I love to write a poem about New York and rhyme 'oysters' with 'The Cloisters.' And 'The lady from Knoxville who bought her brassieres by the boxful.' I just feel a sort of small triumph.
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In the early part of the '60s I was influenced by the Ventures.
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I taught myself to play the piano, because I wanted to play it.
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I've been wrestling since I was 18 years old. And within the first five months of my wrestling career, I'd already had three concussions. And for years after that, I would get a concussion here and there, and it gets to the point that when you've been wrestling for 16 years, that adds up to a lot of concussions.
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I would rather be ashes than dust! I would rather be a superb meteor, every atom of me in magnificent glow, than a sleepy and permanent planet.
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I feel like I have another level every year that I start a new season of basketball. If I continue to keep growing, and make everything consistent, I'm going to get better and better each year.
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A lot of reality TV is repellent, but that doesn't diminish the qualities of some of the people who take part. There are decent people in there who have no alternatives.
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I've found just the right amount of balance in my life. I'm this pop artist in America, but I'm also Malaysian. And I'm also Muslim.
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I have this rule. It's called 'Top Dog-Underdog:' Underdog gets to make fun of Top Dog, but Top Dog can't make fun of Underdog. But you know what? You get Top Dog, you get to be Top Dog. Congratulations! And that dynamic happens not just in race but in many different ways. It's like the male-female dynamic.
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Returns matter a lot. It's our capital.
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I often feel that when people have affairs, it has more to do with something they're searching for in themselves than anything else.
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Now we're here in 2009. My boys are 16 and 18, one's going to USC film school, and the other seems to be a natural comedian. So now I have to go back into show business as a senior comedian. So I hope to get Walter Brennan-type roles, Gabby Hayes kind of stuff, be the old-timer. We'll see what happens.
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It's not just enough to swing at the ball. You've got to loosen your girdle and really let the ball have it.
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I started feeling secure in every way once I began to accept myself the way I was. Whether that was emotional, financial or professional security, all of it came and embraced me because I embraced myself.
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I hadn't worked for a couple of years so I thought it would be nice to earn some money and pay the bills.
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I feel for Veronica Mars so much when I'm watching at home. It is a wonderful story. The writing is consistently funny, biting, charming, heart-wrenching, etc. I also like the look of it. The cinematography - different from any other show.
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Criticism can bother you, but you should be more bothered if there’s no criticism. That means you’re too safe
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You can't hit what you can't see.
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If we give the attributes of a medium to the artist, we must then deny him the state of consciousness on the aesthetic plane about what he is doing or why he is doing it. All this decisions in the artistic execution of the work rest with pure intuition and cannot be translated into a self-analysis, spoken or written, or even thought out.
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When the producers of 'Why Poverty?' came to me to do a film about poverty in the United States, I asked if I could do a film about wealth instead. I tend to make films about perpetrators, rather than victims.
