23 ordspråk av Buster Keaton

Buster Keaton

Buster Keaton

Buster Keaton föddes den 4 oktober 1895 och dog den 1 februar 1966 - amerikansk filmskapare och komiker.
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Comedy is a serious business.

Komedi är en allvarlig historia. Komedi är en allvarlig sak.

En komiker er en, der gør morsomme ting. En stor komiker er en, der gør ting morsomme.

En komiker är en som gör roliga saker. En stor komiker är en som gör saker roliga.

Publikum kan godt lide "Den langsomme Tænker".

Publiken tycker verkligen om "Den saktfärdige tänkaren".

En komiker är en man som gör roliga saker. En stor komiker är en man som gör saker roliga.

En komiker är en som gör roliga saker. En stor komiker är en som gör saker roliga.

We didn't stick to any format. We would just get an idea, and once you started on the idea it would lend itself to gags and natural trouble of any kind. There was no format.

Is Hollywood the cruelest city in the world? Well, it can be. New York can be that, too. You can be a Broadway star here one night, and something happens, and out--nobody knows you on the street. They forget you ever lived. It happens in Hollywood, too.

The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I'd have material in two minutes, because I'd been doing it all my life.

They say pantomime's a lost art. It's never been a lost art and never will be, because it's too natural to do.

From the time I was 7 or 8 years old, we were the roughest knockabout act that ever was in the history of the theater, not only in the United States but all over Europe as well. We used to get arrested every other week--that is, the old man would get arrested. The first crack out of the box here in New York state, the Keith office raised my age two years, because the original law said that no child under 5 could even look at the audience, let alone do anything. So they said I was 7. And the law read that a child can't do acrobatics, can't walk a wire, can't juggle--a lot of those things--but there was nothing said in the law that you can't kick him in the face or throw him through a piece of scenery. On that technicality, we were allowed to work, although we'd get called into court every other week, see.

Well, I'd say that the minute sound came in, it was everybody talking their heads off and going for dialogue laughs. All your writers did the same thing. Once that started, it took years to ever get anybody even to touch that old type of material again

You could write the whole plot on a postcard. We do the rest.

When sound came, we found this out--we found this out from our own pictures--that sound didn't bother us at all. There was only one thing I wanted at all times, and insisted on: that you go ahead and talk in the most natural way, in your situations. Don't give me puns. Don't give me jokes. No wisecracks.

I don't act, anyway. The stuff is all injected as we go along. My pictures are made without script or written directions of any kind.

The camera can't catch my blushes!

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