"'I had the freak of luck to start high on the mountain and go down sharply while others were passing me'—so Mailer wrote, describing the time after Barbary Shore when he unexpectedly joined the rest of us down on the plain. Now the descent, swift or slow, is not agreeable; but on the other hand it is not as tragic as Mailer seems to find it. To be demoralized by the withdrawal of public success (a process as painful in America as the withdrawal of a drug from an addict) is to grant too easily a victory to the society one has attempted to criticize, affect, change, reform."
—Gore Vidal, "Norman Mailer: The Angels are White"
"Letís put it this way, it would even be more enjoyable and pleasurable if I had announced my retirement from the business but since I want to go on and do other things after this, human nature being what it is, you think "How am I going to top this?" Really, the odds are Iím not, ever."
— Vince Gilligan on the critical success and widespread popularity of Breaking Bad
"Nintendo at that time approached another company and asked them if they would make an N64 version of Metroid and their response was that no, they could not. They turned it down, saying that unfortunately they didnít have the confidence to create an N64 Metroid game that could compare favourably with Super Metroid. Thatís something I take as a complement to what we achieved with Super Metroid."
"I sometimes consider going back to making webcomics, but AMD would always be hanging over my head. Even when I did Zombies of the Living Dead - which is only like twenty comics - I had people yelling at me every day because I was wasting my time with that and not with finishing AMD."
— Sean Howard on A Modest Destiny
"It seems like there will always be new Batman cartoons and new movies offering up new approaches to the character. And DC Comics will keep doing crazy new crap to Batman like pretending he's dead when he's really back in caveman times. The sad truth is that the pinnacle of Batman storytelling has already been reached, and anything that follows has been and will be but a shadow of perfection. The perfection of which we speak is Batman: The Animated Series."
— Kevin J. Guhl, Topless Robot
"In any successful artistís career, thereís a moment where they transition from youthful hunger to having it made. Itís usually a rough point as well — itís rarely flattering for the artist. Itís where the spectre of 'I liked your old stuff better' really raises its head, and thereís a fairness to it, because that hunger and desperate, frantic need to get noticed and to succeed has a peculiar and enticing effect on art. When every book could be your last you scramble madly to write them, to say everything, to make an impact. Once youíve properly, clearly succeeded, wellÖ itís not that you turn to crap, but thereís less urgency. You take a very different sort of risk. Failure isnít quite as terrifying, and so you start creating things where the possibility of failure is accepted."
"I read a review once that said, one good song can make an album, but one great song can kill it....'Story of a Girl' isn't a great song, exactly, but it's certainly a career-killer. No one was interested in this band's other music and to be honest, I have no idea why you decided to watch this far into the review."
—Todd in the Shadows, "One Hit Wonderland"
"When Tarantino is past his prime, will people look back on Django Unchained as his masterwork? Most likely not, as Pulp Fiction is so culturally ingrained...Itís an extremely entertaining exercise, but an exercise nonetheless. Pulp Fiction did something new, and it lives on today because of its unique vision."
"A great director is somebody who doesnít draw attention to himself and in the case of Tucker, Coppola is trying WAAAAAY too hard... The soundtrack is always blaring big band music and other music from the day and the camera is constantly doing some flashy trick. You canít just have a two shot of Jeff Bridges and Joan Allen talking on a phone, we have to have Joan Allenís giant superimposed head over a shot of Jeff Bridges talking in a phone booth. We canít just have Tucker get the inspiration for a car and express it through acting or writing. No, we have to have Tucker spinning on a stool going 'WOOOOOOO!!!' while the camera spins along with Tucker and that transitions to a spinning magazine shot which then transitions to a newsreel type montage. Only its not done in a traditional black and white newsreel of the day. We have to mix in black and white with color and have Tucker walk in a seamless transition from his living room to his automobile plant all the while Benny Goodman is blaring over the soundtrack. After twenty minutes I was psychically pleading with the Francis Ford Coppola of the past to calm the fuck down. In this case, I really donít want someone trying to make the next Godfather. I would rather have some unknown who is more content with telling a good story than going through a filmmaker mid-life crisis."
"See, Resident Evil 4 is the missing link between Kill Switch and Gears of War. It was the transitional piece that led the the sixth generation of consoles into the seventh, and it determined how action games were going to work in the seventh: widescreen TV ratios, QTE, stop n' pop, and scripted spectacle events weren't representative of the action genre until Resident Evil 4 popularized them... It's a mishmash of each and every good idea they could have thrown into a third-person, action-oriented horror game — and I guess that's why it killed the series. It's everything it could have been, and it's everything it should have been. The only problem with that is: the only place the series could go from there was someplace... stupid."
"Maybe when you're someone like Andrew Lloyd Webber who has reached the pinnacle of your career and you've pretty much conquered every aspect of your chosen profession (made tons of money, earned lots of critical praise, won lots of awards, been sued by Faye Dunaway, etc. etc.) you just go 'FUCK IT, BRING ON THE RAPPING CATS!'"