Letty Cottin Pogrebin Quotes

Stanley Kubrick's '2001' was the door that opened up the possibility of science fiction for me. Everything else up to then was fine, but didn't quite work for me.

Being a kid growing up with Kurosawa films and watching Sergio Leone movies just made me love what it could do to you, and how it could influence you - make you dream.

My dad and I watched 'Amadeus' when I was 6, and I knew I wasn't going to be an engineer.

I remember watching Jodie Foster in Contact, and that kind of opened my eyes.

'Taxi Driver' was the best thing that ever happened to me, and I didn't become a weirdo and squawk like a chicken.

I grew up on particular movies that said something to me as a kid from Missouri, movies that showed me places I'd yet traveled, or different cultures, or explained something, or said something in a better way than I could ever say. I wanted to find the movies like that. It was less about a career than finding the films I wanted to see.

I think you are a product of the environment you surround yourself in, and everything you've experienced is a part of you and the fabric you are in.

'Masaan' was a life-changing experience.

My experience at Bournemouth made me who I am today.

I would say that 'After the Storm' is much more informed by my personal life than my other movies.

No one is born fully-formed: it is through self-experience in the world that we become what we are.

There wasn't much as a kid that inspired me in what I did as an adult.

[Wham!] totally changed my life. It would be very difficult to know how it changed me as a person; you'd have to ask other people that.

At age 12 I had an obsession with Kubrick's A Clockwork Orange and then proceeded to watch all the other Kubrick films I could including a doc called Stanley Kubrick: A Life in Pictures in which it was revealed to me that he started as a photographer...I got a camera sometime shortly after, but spent many years just photographing flowers in my neighborhood.

Childhood is the fiery furnace in which we are melted down to essentials and that essential shaped for good.

To know what you like is the beginning of wisdom and of old age. Youth is wholly experimental. The essence and charm of that unquiet and delightful epoch is ignorance of self as well as ignorance of life.

I complacently accepted the social order in which I was brought up. I probably would have continued in my complacency if the happynecessity of self-support had not fallen to my lot; if self-support had not deepened and widened my contacts and my experience.

When I'm doing something, it's something that I had a perspective on in my childhood, or now, but it may be different. I always can go back to what I love, but if somebody has a better idea, then I'm all for it.

Nourishing the soul is the process of drinking at the life stream, coming back to one's true self, embracing the whole of one's experience - good, bad, or ugly; painful or exalted; dull or boring.

It has sustained me in moments of success and in moments of disappointment. Without it, I'd be a different person. And without it, I doubt I'd be here today.

The role James Baldwin played in my life is incommensurable as stated above. He helped, along with a few others, to shape the man that I am today. My debt to him is invaluable.

I didn't read comics, growing up. I watched a lot of movies, and those were my comic books. And then, my exposure really increased by becoming affiliated with Spider-Man.

Everything you live through helps to make you the person you are now.

Self-acceptance begins in infancy, with the influence of your parents and siblings and other important people.

The motion picture is like journalism in that, more than any of the other arts, it confers celebrity. Not just on people - on acts, and objects, and places, and ways of life. The camera brings a kind of stardom to them all. I therefore doubt that film can ever argue effectively against its own material: that a genuine antiwar film, say, can be made on the basis of even the ugliest battle scenes ... No matter what filmmakers intend, film always argues yes.