Garry Marshall Quotes
Quotes to Explore
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I have an issue with rage. I'm going to work that out, long term.
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When life knocks you down, keep getting up.
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With the price of life these days, you've got to get everything for free you can.
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I think I'd say that my whole body of work is a reflection of who I am, but not any one specific thing.
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My thoughts fly to the old Icelandic storytellers who created our classics, whose personalities were so bound up with the masses that their names, unlike their lives' work, have not been preserved for posterity.
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It's a lot of work and I also feel like I've done it. I miss comedy. And I also think that, from purely a logistical standpoint, that the day-to-day schedule on a comedy allows you to have a life, much more of a life, than on a drama.
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When you do scenes that are just exposition, they feel false.
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You set up the story, but the characters start talking, and they go places that you didn't expect. You have to follow.
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I was raised to want to work for a living. The idea of just sitting around or going shopping every day appalls me.
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But all over Ohio - all over America - men and women are going back to work with the pride of building something stamped 'Made in America.'
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For my own part, I had rather suffer any inconvenience from having to work occasionally in chambers and kitchen... than witness the subservience in which the menial class is held in Europe.
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You'd be surprised how hard it can often be to translate an action into an idea.
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Sony is the coolest studio. They are really amazing. I think part of it comes from they're not an American corporation. They don't work by quite the same rules. And their studio heads have a lot of autonomy.
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You can't date if you're famous. That's how it seems to me.
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You have to always physicalize, when you do animation recording. Otherwise, you won't get the performance right.
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Hollywood cools, and when it cools you have to go to where the work is. I ran off to Italy to do spaghetti westerns.
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If you are playing someone living, it is a different type of judgment. However much work you do, it is not a documentary. There will be things you can't get right, and ultimately, you have to take a leap because - you weren't there.
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I want to do work that has a message and casts a light over an area that's dark. But I'm fun and jovial, too.
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People have nervous tics they don't know about, and I would advise asking around. Ask the casting director, 'Is there something I'm doing?' I would see people unconsciously rocking back and forth. I roll my lips. I bite my lips and roll them.
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I'm a good learner. I can dig in. I knew nothing about mark-to-market accounting when I started the 'Enron' film.
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I want to go to Australia and take the same goofy picture of me holding a koala that everyone else takes.
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That's what makes a good show. It doesn't target one group. It tells a story everyone gets.
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You have to help your players understand that when they speak to the media, or when they tweet or text or e-mail, a lot of times, they become public knowledge.
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When in doubt, you bring in relatives. Nepotism is a part of my work.
