My idea of rich is that you can buy every book you ever want without looking at the price and you're never around assholes. That's the two things to really fight for in life.
John WatersRead
I would never want to live anywhere but Baltimore. You can look far and wide, but you'll never discover a stranger city with such extreme style. It's as if every eccentric in the South decided to move north, ran out of gas in Baltimore, and decided to stay.
Interpretation
Baltimore's unique character is irreplaceable and attracts diverse individuals.
In this quote, John Waters expresses a deep affection for Baltimore, highlighting its distinctive culture and vibrant eccentricity. He suggests that the city's appeal lies in its unconventional nature, which draws a variety of unique people, contributing to its rich and artistic atmosphere.
In practice
In a keynote speech about cultural diversity.
My idea of rich is that you can buy every book you ever want without looking at the price and you're never around assholes. That's the two things to really fight for in life.
Irony ruined everything Even the best exploitation movies were never meant to be `so bad they were good`. They were not made for the intelligentsia. They were made to be violent for real, or to be sexy for real. But now everybody has irony. Even horror films now are ironic. Everybody's in on the joke now. Everybody's hip. Nobody takes anything at face value anymore.
I don't like rules of any kind. And I seek people who break rules with happiness - and not bringing pain to themselves.
I believe if you come out of a movie and the first thing you say is, 'The cinematography was beautiful,' it's a bad movie.
To understand bad taste one must have very good taste.
To me, bad taste is what entertainment is all about. If someone vomits while watching one of my films, it's like getting a standing ovation. But one must remember that there is such a thing as good bad taste and bad bad taste.
Sometimes when you're inside a story, it's almost better if you don't think too much about its wider cultural significance or if you don't think about how audiences might react to it. That takes you out of the reality of the situation you're committing to as you're telling the story.
Men can absent themselves from real life for their art more easily. Women are anchored into the quotidian business of getting food on the table, making sure everybody's socks match, the soccer gear is ready. I admire idealists, but they're usually enabled by someone who holds the tether on their balloon, who pays the bills and sweeps up after them.
The reality of the final moment, just before shooting [the scene], is so powerful that all previous analysis must yield before the impressions you receive under these circumstances, and unless you use this feedback to your positive advantage, unless you adjust to it, adapt to it and accept the sometimes terrifying weaknesses it can expose, you can never realize the most out of your film.
I took Punk to be the detonation of some slow-fused projectile buried deep in society's flank a decade earlier, and I took it to be, somehow, a sign.
We shouldn't be copying what we see. We should try to find our own sense of style, to believe in ourselves.
Pictures deface walls more often than they decorate them.
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