We had a love-hate relationship. Jackie knew exactly what she could get out of one of my photos.
I wound up signing to RCA Victor as a trumpeter, guesting on shows like Jackie Gleason's Honeymooners.
Every video you see in the movie we have an entire video of it that will be on the DVD, so the whole video for African Child, the whole video for Super Tight, you know the Jackie Q songs.
I was in love with a lot of people, because I was a student of the game of comedy - Carol Burnett, Jack Benny, Red Skelton, Jackie Gleason, Don Rickles, Red Foxx, Moms Mabley - who gets no credit, Richard Pryor, Bill Cosby, George Kirby. I loved them all, and I used to just take a page out of all of them.
Some day I'm going to have to stand before God, and if He asks me why I didn't let that [Jackie] Robinson fellow play ball, I don't think saying 'because of the color of his skin' would be a good enough answer.
The first real thing was Divine as Jackie Kennedy [in Eat Your Makeup]. His mother found the bloody Jackie Kennedy outfit in the boot of his car and said, 'What is this?" and Divine said, "I am Jackie Kennedy!" His mother just changed the subject; she didn't know what to say.
I was doing an hour drama on television and a Jackie Chan movie in Toronto, so I was on a plane every three days.
This guy don't come to the ballpark to beat you. He comes to beat you bad. This (Jackie) Robinson, he plays a ton.
To me representing clairvoyance, how was I going to achieve that, how I was going to capture that? For me, it all became about her gaze and the way she takes you in. It's a rhythmic thing and a stillness thing to consider but these are little details, little nuances. We were invited to the sanctity of her home and there were roosters running around and she's screaming, "Jackie, be quiet!" Even though she's in the middle of the thing. And these are the details that we wanted to incorporate into our story.
I like Jackie [Chan] because I've been a fan of Jackie's forever. He's broken every bone in his body for his commitment and dedication to doing his own stunts. So he's the real deal.
Whenever I'm waiting behind the stage, it's kind of like my normal Jackie mode is me talking a lot, playing around, but superstar Jackie mode is me concentrating on making sure that this performance was going to be a great performance.
I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.
I think the fact that she [Eleanor Roosevelt] was a woman probably in those days would have been an additional criticism, although first ladies by definition in those days were women. There's always been a problem and still is, about the role the first lady should play, of course. Everybody's seen it in Jackie Kennedy and Nancy Reagan and, heaven knows, Hillary Clinton. So the problem has not been solved.
I think his portraits of Jackie, Liz, Marilyn, Mao, Elvis, Lenin - and objects like the soup cans, the dollar signs, the hammer and sickle, it's all about icons. Its all about what people worship in an irreligious or secular world. In terms of Andy's personality and Andy Warhol as a human being who I was very close to, I still feel kind of sorry for him on a personal level. I mean, he was the ultimate example of great success wrapped around inner turmoil and emotional pain.
With everything I've done from "Jackie Brown" on, I got really into really writing more prose in the - in what you're calling the stage directions, all right, and consequently my scripts have gotten bigger and bigger, and cut to "Kill Bill Volume 1 and 2."
My father was like the token bad white guy in all the old Jackie Chan/Bruce Lee films.
I read every biography [of Jackie Kennedy] I could get my hands on.
There were, like, 20 of [Jackie Kennedy's biographies], which was interesting because they are not exactly high literature - they are pulpy.But the [Arthur] Schlesinger transcripts ended up being the most useful of anything.
I've been really into a light, bright playfulness that's been missing. I looked at these '60s and '70s photos of Jackie O. She went to Capri every summer, but she was always a little more playful, a little more colorful, than she was in 'normal' life. And it was exciting to see her a little bit "off duty." The colors are from awning stripe umbrellas, from a really clear ocean, and from ripe citrus.
I know that they [Jackie Joyner-Kersee, Florence Griffith-Joyner and even Wilma Rudolph] have paved the way and they have been a source of inspiration.
I play the Father/Son every year on the PGA TOUR Champions. I split it between Jackie and Gary as my playing partners.
I've done radio interviews about this movie [42]. I feel I'm a part of this movie, since I knew Jackie Robinson. I was at his first game.
We met in an airport in Las Vegas, Harrison Ford and I, and he said, "I just finished a movie called 42. I play Branch Rickey. There's this kid in it playing Jackie Robinson. I think it's a pretty good movie."
What I think is really great about this movie [42], that young people who weren't there will have a chance to have the visceral experience of what Jackie Robinson went through.
One take, so you better be ready and you better be good. One take and that was it. It was something that was spontaneous. Both Sid Caesar and Jackie Gleason was like that as well.
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