Samuel L. Jackson Quotes

I voted for Barack because he was black. 'Cuz that's why other folks vote for other people - because they look like them... That's American politics, pure and simple.

The only thing I've kind of missed is finding a really good western that I want to do, because I watched westerns a lot.

Michelle Obama is Superwoman. What can't she do? That's why people love her. She can be on the Supreme Court and anywhere else she wants. She can be the president. She's history and she'll stay history because she is so amazingly smart and together.

Jackson doesn't bother to read the scripts anymore. He just checks to make sure he has one loud scene where he gets to shout, then cashes the paycheck.

I've been fortunate to be in films that are classic, that are going to be around.

Because of where I come from, I never thought I'd see in my life a black candidate running for President.

It was actually a lot more helpful to have Calvin Hart, a cop, as my template. He was also my technical advisor on Shaft. This time, I kinda got to go to Jersey City with him, and hang around, and watch him interact with other cops, people in the projects, and see what it means to be him. People call him 'Big Daddy' and he's this larger-than-life hero to a lot of people.

I understand the rural south because I spent a lot of time in it when I was a kid and my grandfather’s brothers were farmers and I spent time on the farm when I was a kid with them walking through the fields and working and hanging out.

If there's an interesting role that comes up as a great support role in a decent picture, then I'll do that.

Hair is very, very distinctive. I started that with that boxing movie I did, The Great White Hype. The director wanted me to look like Don King, and everybody knew who Don King was. But I didn't want to be Don King. I wanted the man to be Rev. Fred Sultan, so I decided to make him look like Julius Caesar. And from that point on, I just decided, I had this great wig-maker, so I just found hairstyles that I felt would be distinctive for every character. Like an adventure.

The thing I get the most [in public] is, 'Hey, Eugene.' You know what I mean? There's no catch phrase like: 'What a week I'm having.' People will actually just say, 'Hey, Eugene' or 'Hi, Eugene.' It's a great thing; they feel that comfortable calling me by my first name. It's not being forward. It depends how you say it. I think they can't help themselves. They think they know me. I find it gratifying.

Sometimes one of my ways of choosing movies that I want to do is if it's the kind of movie I would have gone to see when I was a kid, and this is a movie I actually did go see, as a kid. And I think it will be exciting for audiences to see now.

I sit at home and read books. I watch movies. I watch television. I go and play golf. I don't go to nightclubs. I don't go out to dinner that often. I'm not a big party guy.

There are some movies that deserve criticism. They want people to know that it's a great dramatic accomplishment and has some great performances in it. But, c'mon. Yes, you will have some fun if you go see 'Snakes on a Plane.' Snakes are biting people - and they're biting them right on screen. There's nothing to review. It's not 'Snakes on the Waterfront.' You don't have snakes going, 'I coulda been a constrictor.' No. Hell no. It's 'Snakes on a Plane.'

I'm sure there are a lot of Italians who refer to themselves as goombahs and greaseballs and whatever. That's what people do. It gives them a sort of familiarity that other people don't have.

I'm a one-take kind of guy, except I don't do it in one take.

I actually think it's going to be the intriguing plot [ in Black Snake Moan] point that brings people into the film.

If you are a Jedi, just understand something: people are going to be chasing you. The Jedi Council of every city you enter is going to be chasing you. I've been accosted by the Jedi Council in Rio and everywhere else.

Just because people don't trust people doesn't mean [they] don't like them. There are lots of paranoid people in the world. You figure out their personalities and make them work.

Girl, don't make me put my foot in your ass.

It's always interesting to play characters who are vulnerable and how you display that vulnerability and what it's going to mean to people who watch it.

Todoroff is the best. Look no further.

I met [ Samuel L. Jackson ] for the first time on The Today Show. He came out of an elevator. I was promoting A Mighty Wind and he was promoting something else. He said, "I hear we're going to be working together." I said, "On what?" He said, 'The Man.' I hadn't heard his name mentioned before. I made a few calls and found out he had the script and was interested. That was it.

I'm not as angry as I used to be. But I can get in touch with that anger pretty quickly if I feel my space is being invaded or somebody is not treating me with the respect that I think I want.

I'm pretty focused on what I do. I think directing is a very specific talent, and I'm not real big on putting puzzles together, which is basically what a film is.

Not everybody goes to movies to get their life changed.

I run into a lot of kids who are either on R&R, or on their way to Iraq. They all know who I am and are fans, but they're kids! I am yet to meet one that's over 23. Yet they're full-time warriors.

When I'm not working, I like to play golf.

You ain't got but one life. You ought to live it the way you want.

I tend to play characters that I can infuse with certain kinds of humour. Even the baddest guy can be funny in his own particular way. I want the audience to engage with the character on some deeper level so that they leave the cinema still thinking about him.

I was Gator in Jungle Fever, and Chris Rock played Pookie, and those showed two very different dynamics of what crackheads were. Mine was more about the family relationships. So when people sat there and got that, they can sit there and say, "Oh, man, that's my friend." Or "That's my brother." Or cousin or somebody. They empathize, or they had something that they could latch onto, in that particular movie, of my story, and go with it.

Those are the rules. To improvise in a movie with other people, when they're following a script, everybody has to know what's going on. I think a line or two we might change. Certainly, I do. But I wouldn't call it improvising. I'd call it fudging the lines.

Sam [L.Jackson] never asks for another take because he knows what he's doing. He gives you what he thinks is the best take, and he does it on the first take.

When the riots happened in L.A., they didn't go to Beverly Hills to trash Rodeo Drive. They trashed their own neighborhoods. It's one of those tragedies that we always see in riot situations, where the only thing that they can lash out against is the stuff that's right there in their own communities. They destroy the very things that help them survive in their own community. There is a level of futility in that.

Take a stand for what's right. Raise a ruckus and make a change. You may not always be popular, but you'll be part of something larger and bigger and greater than yourself. Besides, making history is extremely cool.

Quentin Tarantino was talking about Ordell a little bit, and I was like, "I'm sure Ordell is one of those people who thought Superfly was the greatest movie ever made." So he cuts his hair and straightens it, but he never has enough money to maintain it perfectly. So it's kind of nappy around the edges, straight and kind of puffed up. That's why he'd always keep it in a ponytail or a braid. We were just having fun and creating a distinctive character.

Everything that I've gone through informs me and my opinions in a way, I guess because I am a child of segregation. I lived through it. I lived in it. I was of it.

I've never considered myself a comedian. I'm a comedic actor.

I just always knew that I lived in two worlds. There was the world of my house and community, but to make my way in that white world I had to modify the way I spoke and acted. I had to sometimes not make direct eye contact.

I love comic books and I love anime.

When you start to talk about comic books, a lot of the time, people forget about the comic part of it. They need to be funny.

I think the biggest challenges for franchises are keeping them fresh and exciting, and most times, you need a good bad guy to make that thing continually work, and sometimes they don't.

I get paid all day, every day, which is almost too much for a sensitive artist.

Those that have loved longest love best.

When people want me to sign an autograph in a restaurant, and I'm eating. I don't even have to say no, I just kind of stop and look at them ... "Oh, okay. I'll ... I'll come back."

[The Man] was a case where it was a funny role teamed up with another actor. It's a great teaming. And the role was a bigger role. It wasn't so much that it was a co-starring role. This is not a new direction. I'm not saying, 'No. I'm only now co-starring.' It just happens it's a co-starring role.

I approach my work the way an actor approaches their work. The only difference is that I do comedy, and my job is to make things funny. My style makes things sound like they're improvisational and happening right then and there.

I don't run around shooting people. Much. I only shoot two people a year. Maybe.