Interviewer Quotes - page 2
Depp: I would never be disrespectful to my country, to the people, especially the kids who are over there serving in the armed forces. My uncle was wounded in Vietnam, paralyzed from the neck down. I would never say those things the way they claim I said them.
Interviewer: What exactly did you say?
Depp: I essentially said the United States is a very young country compared with Europe. We're still growing. That's it. I wouldn't say anything anti-American. I'm an American, and I love my country.
Interviewer: What's your view of President Bush?
Depp: What can I say? He's somebody's kid. He's somebody's father. God bless him. Good luck. You know what I mean? I don't agree with his politics, and I'm not going to pretend to, but I don't agree with a lot of people's politics.
Johnny Depp
Interviewer: It seems to be acknowledged that there're more people out there supporting the aims of Al-Qaeda and groups like them, and are willing to die, as a result of this war, than perhaps there were previously?Hitchens: Well, you could as easily say that the number of people who used to be based in Afghanistan, have, as a result of the intervention there, relocated themselves and spread the virus in that way. Both of these arguments lead to only one terminus, which is: we should surrender to jihadism, and not try to oppose it, in case we make them upset.
Christopher Hitchens
Interviewer: You describe seemingly fantastic events in such minute detail that it gives them their own reality. Is this something you have picked up from journalism?
García Márquez: That's a journalistic trick which you can also apply to literature. If you say that there are elephants flying in the sky, people are not going to believe you. But if you say that there are four hundred and twenty-five elephants in the sky, people will probably believe you.
Gabriel García Márquez
Bob Dylan: The media is all-pervasive. What can a writer think of to write that you don't see every day in a newspaper or on television?
Interviewer: ...Do you think that TV and the media have killed poetry and literature?
Bob Dylan: Oh, absolutely. Absolutely. ... What's a writer to do if every idea is exposed in the media before he can get to it or let it evolve? What's a writer gonna write about? ... We're living in a science-fiction world. We're living in a world that Disney has conquered. Disney's science fiction. Theme parks, trendy streets, it's all science fiction. So I would say, if a writer has got something to say, he'll have to do it in that–
Interviewer: Outside of the real world?
Bob Dylan: There is a real world. Science fiction has become the real world. Whether we realize it or not, it has.
Bob Dylan
![Well, this man [the T. V. interviewer of Jasper Johns, ] wanted to know why I stopped painting [the so-called famous 'Silence of Duchamp'].... and he had said [it was] because of dealers and money and various reasons. Largely moralistic reasons.... But you know; it wasn't like that. It's like you break a leg; you don't mean to do it. (Marcel Duchamp)](https://cdn.quotesdtb.com/img/quotes_images_webp/02/marcel-duchamp-break-interviewer-446702.webp)
I have two thoughts [on the question of interviewer Joseph S. Trovato: 'Were the projects a good thing for American art?']. That practically all of the best painters of my generation developed on the projects such as Pollock, de Kooning, Brooks, Hague (sculptor), B. Greene, and Baziotes. I could go on and on. My second thought is that the reason it was good is that it had a broad base due to the economic situation we were in - the depression - and all kinds of art and styles, plus all degrees of talent were employed. Everybody was given an opportunity to prove himself. The many painters I mentioned above who have come such a long way is proof of this.
Phillip Guston
Actually, one of the real problems that always bothers me [in creating a painting] is sustaining a feeling. I mean, when I look at Poussin now, well, I think that's the most incredible thing to maintain the feeling for a year, however long it took Poussin, I'm telling you, to paint this vast structure. Bur perhaps that is not given to us now. I don't know.... Actually all all modern art puzzles me. I don't understand it. II really don't. I don't know whether it is fragmentary [as David Sylvester the interviewer suggested]. I have a sickening nostalgia for this other state of sustaining a feeling for months, being able to construct and build a picture. Well Mondrian, I think, did that, of course. He was almost one of the last artists to do that. I wish I could get there.
Phillip Guston
Interviewer: How long do your parents usually let you stay up?
Rachel: I probably get home at 1:00 (am) and I go to bed at 1:30. [shrugs] I don't know.
Tina: She's usually in bed at-
Rachel: 1?
Tina: 1.
Interviewer: 1 am? [laughing]
Tina: [laughing] 1 am. She's performing. She's-
Rachel: Maybe on a school night, I go to bed at 10! Maybe.
Tina: Yeah. Maybe. When you went to public school. Now she does homeschool, so she doesn't go to bed until 1.
Rachel Trachtenburg
The interviewer Stina Dabrowski said to Thatcher: "So when people criticise you and say what it led to the period when you were prime minister was that the rich became richer and the poor and the became poorer." Thatcher replied "That is not correct. The poor also became less poor, because the benefits at the bottom for those who are genuinely poor do go up. Money spend on education goes up and on the Health Service goes up so that is not true. What happens you might get a bigger gap but you might start here creates a small gap particularly if you're paying top tax today - 83% on earnings and income and 98% on savings. Your gap goes up, it does go up, but the whole thing moves up the gap, you must give people incentive!
Margaret Thatcher
I had a screenplay once where I was 90 pages in and I knew it was all over. I knew it was a disaster. And it was driving me crazy because the studio had gone down a path with me, so there was no getting out and I didn't know how to go past these 90 pages. And then it all worked out-and the change which made it from absolute despair that there was no way to save it to it all working out was minute. But, but key. INTERVIEWER: Which screenplay was that? JAMES L. BROOKS: Uh, it was Terms of Endearment.
James L. Brooks
BBC Interviewer: Mr. Prime Minister, the introduction as Sinhalese as the official language by your government [Sri Lankan Government], appears to have damaged the good relations, which previously existed between Sinhalese and Tamils, how do you justify this act?
S. W. R. D. Bandaranaike: Well, when our country became independent, naturally the question aroused... of national language. superseding English as the official language of the country. Sinhalese, we decided upon, as the official language, because 70% of the people of Ceylon are Sinhalese. At the same time, we naturally realized that the Tamil minority had a language that was also old, very rich language, literature... so on, and therefore we decided, also, to give a reasonable use to the Tamil language, as a language of a national minority. In such matters, and education, examinations, and the public service, and so on: We fear that that is the fairest way, for a problem to be settled.
S. W. R. D. Bandaranaike
I wonder [interviewer: I hear him saying quite soon] or that line [in the picture he is just working on] doesn't repeat itself. It's more or less the same, isn't it? on both sides, don't you think so? [(interviewer) 'Maybe it is!' - I dare to say; there is no escape; I have to give advice] (translation from original Dutch: Fons Heijnsbroek)
Willem Roelofs