I like the idea of stepping back into another time period.
The Democrats tax anything that moves.
Andy was a character, and the two of us did have some things in common. We appreciated funny things, didn't like serious things.
Even Andy never hung his own paintings. He'd sell them or put them in a box.
It's good to aggravate people a little. It makes them pay attention.
I never wanted to be anything special. I just wanted to make films.
Most of the time, I leave the camera on the obvious special effects, like the rubber bodies, so that it become obvious they're not real.
Andy always thought that films would be where we'd make money.
Andy was not a hippie or rebel but more like a mischievous child. He was never out to destroy everything. He became a New Yorker, and New Yorkers know, like the media, what's going on around them is a fashion thing that will change to something else.
What made Andy famous was the years I managed him. I created the Velvet Underground and told him not to worry about them because they would help his career. All those things I did created his fame.
I adore jokes. They're a theatrical contrivance, but the irony of all fiction is that you approach reality by avoiding it a bit; you spoof it a bit.
My films always play better outside of New York, especially to critics.
There's something about all the films that I have made in that they don't seem old or dated, and some people mention that.
People treat serious subjects so seriously, which is so obvious a way of dealing with them. I'm always thinking that the best way of dealing with them is to show people as human beings.
I've always stayed independent, but I've always felt an obligation to make movies an untutored audience could like.
So many things go on in life that never find their way into the movies because so much of it is unappealing. But that's what I want to show.
I'm not against censorship in principle. Not at all. Some things should be censored.
It's a debilitating process, working with the studios. With the length of time it takes for drafts and development deals, your enthusiasm is gone before you're ready to make the film.
Andy was not a director and not a writer. He operated the camera a little bit, and he wasn't even so good at that.
Somewhere in the '60s, actors became wimps and basket-case psychotics.
