Crispin Glover

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    • (On comedy)
      Crispin: I think humor delineates who your friends really are. I worked on Little Noises (1992) with Rik Mayall, and he described to me a theory of humor. With pack animals, if there's a sick one in the bunch, the others will growl at it and try to get rid of it. This translates to the comedian on-stage. There are two types of comedians. One who says, "Everybody laugh at that person," and the braver comedian who makes them laugh or growl at himself. It brings people together. The audience laughs at this sick thing: they become a part of this clan or tribe. And that's where you get your friends: you share a certain humor about the sick and the foolish.

    • Crispin: Years ago, I was trying to find movies that I would think of as a reflection of my psychological interests in something, but I would ultimately end up finding it frustrating. I wasn't looking for things that would make me cash, basically. I'm glad I did it in one way, because it's important to forge an identity at one point in your career. But now, I've just been focusing on acting in films that I can use to fund my own work with, and strangely, what's happened is that as I've focused on increasing my cash value, the roles have become more interesting and I can finance my own work.

    • Crispin: I think it's important to know your direction.

    • Crispin: I prefer old clothes.

    • (On making films)
      Crispin: My favorite part is editing. That's where you are making the final art of what the movie is. Being on set is kind of the war element. Editing is a kind of, clean-up stage where the beauty comes into it.

    • Crispin: There's a tradition in the American media to ask actors what the movies are about, but it always seems wrong. It seems like the directors and the writers only often see an actor quoted in what a movie is about.

    • Crispin: Probably my four favorite directors are Werner Herzog, Rainer Werner Fassbinder, Stanley Kubrick and Luis Buñuel, because with all of their work you can think beyond the edges of the film. They're not films that dictate to you, this is what you must think. They're all films that have compelling stories, but there are thoughts beyond the films themselves.

    • Crispin: I'm not somebody who believes that darkness is something that should necessarily be hidden from children or anything like that. I think children like a lot of the same things that they like as adults or rather, the other way around, adults like a lot of the same things that they liked when they were children.

    • (On being eccentric)
      Crispin: Eccentric doesn't bother me. "Eccentric" being a poetic interpretation of a mathematical term meaning something that doesn't follow the lines - that's okay.

    • Crispin: In the past, I've never tried to discount or stop what people are saying because on some levels I find it interesting. But if I look on the Internet or in news chat groups, I tend to read, "Oh, that guy's crazy, that guy's nuts. He's insane or psychotic." At a certain point, it does get a bit like, "I'm not. Really." Look, I one-hundred percent admit and in fact implore people to understand that, yes, I am very interested in counter-cultural things. But there's a difference between having artistic interests and being psychotic. That's more than a fine line of differentiation, and I do see that a bit too much.

    • Crispin: Realism is always subjective in film. There's no such thing as cinema verite. The only true cinema verite would be what Andy Warhol did with his film about the Empire State Building - eight hours or so from one angle, and even then it's not really cinema verite, because you aren't actually there. As soon as anybody puts anything on film, it automatically has a point of view, and it's somebody else's point of view, and it's impossible for it to be yours.

    • Crispin: People watch movies - and it's vague ideas, it's vague notions, but people pick up on these things, that they are supposed to think certain ways or that they're not supposed to think, basically, and they don't. And then it's like, if you do any thing that's thoughtful, they think, "Oh, that's weird..."