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“A company that was I think the one I learned the most from in Wall Street 2, just in terms of my own character in and the kind of firm he worked in, was John Thomas Financial. There it's like warriors in an arena getting ready for battle. Thomas Belesis just fires these guys up like there is no tomorrow, and I absolutely got addicted to that optimism and adrenaline and that "We're going to do it, we're going to do it, buddy" kind of attitude that he had.”

“I had a lot of preconceived notions going in the Wall Street. It wasn't an industry that I really respected much. My feeling was kind of like look, you're not making anything. You're taking money from one place, putting it in another and taking your cut and that's just not really kind of soul-satisfying at the end of the day, but what I learned is, on a larger scale is how much the Wall Street industry funnels and fuels so many others. There is a lot of good that these guys do, and to lump all traders into a category is as insane as lumping any group of people into one category.”

“I mean I think one of the larger problems going on right now is, debate has replaced discussion. As I say you can't lump Wall Street into one category. That doesn't mean anything. Every firm has a different attitude and does different things and puts their cherries in certain places and their money in others. Some are vicious, nasty, I will cut you down at all costs to make a buck, some have a much higher moral standard.”

“My hope is that the film Wall Street 2 will actually serve as a way for us to bridge that gap between Wall Street and Main Street. Certainly that's dealt with in the film of how it does affect everybody, so, you know, I always find that when you can create a movie or a play or a book that gives somebody a safe theoretical place to discuss what is really going on in the day it tends to forward discussion, so that would be my hope coming out of the film.”

“I grew up in an artistic family where everyone was doing something in one field of the arts or another. I was I think 12 years old when I did my first acting at the Actor's Studio and James Dean once said that the only reason to become and actor is because you have to. I think that you know from a young age if that is a certain rush that you're going to need to satisfy you and to make you feel fulfilled - and if you don't then you shouldn't do it. It's just too brutal of a business most of the time.”

“Cinema and theater - it's apples and oranges. You can't really beat movies. Yeah, when you're on an Oliver Stone set everybody brings their A game. Everybody brings their A game, from the top to the bottom and in between. In terms of theater you know there is no way to really duplicate that rush you get when you take an audience that is live and right there in front of you through the journey of a great play and you go through these emotions so that they can experience them without having to go through them themselves.”

“Writing and acting are almost diametrically opposed in terms of being an actor it's in your interest to be in shape and to be healthy and to have a strong voice and to be flexible. As a writer you're sitting in this position for hours on end. You get up and you can't put your shoulder down. It's not a healthy existence so to speak and it's probably not healthy for the person that lives with you either, but you do the best you can.”

“The thing is, to try to talk about a performance that will never be seen again, that was only lived by the people there, it's kind of like telling somebody about your dream. You know if they love you they'll listen and smile, but they can't really get it, so there is a certain infinite quality to film that is nice. You do the work and you know it's always going to be there. The flip side is if you do bad work it's always going to be there.”

“Ten years ago when I started out I was kind of told I was insane for trying to pursue multiple fields at once because in five years everyone who just did one would have five times the resume I would if I was lucky, but I took that gamble because I just my gut told me it was the right thing to do and you know as an actor there is so much downtime you want to fill it with something else and as a writer you know sometimes you're doing a passion project, sometimes it's a paid gig, sometimes there is nothing, so you can do a journalistic piece.”

“Whatever the reasons, 2008 it felt as though the combination of distribution models starting to tighten and the publishing and film and music industries having to revolutionize themselves to catch up, and understand how this is going to work in the new millennium has made it a lot easier to pursue multi-platform careers. It's much easier to hire one person who can do three or four different things than one specialist in that field.”

“I think about the college graduating classes and high school classes that are coming up now they're in a unique position. I mean they're entering one of the toughest economies of all time. At the same time if they're willing to work really hard the ability they have to learn something much faster than we ever did before is there and it's really a question of are you willing to put in the effort and go that extra mile. Because if you are I think there's actually more opportunities out there.”

“It's always an interesting question of what was it like as Norman Mailer's son because I could easily turn it back and say what's it like not to. I didn't always realize my dad was Norman Mailer. I always knew he was Dad, and then I forget the exact age when it dawned on me that, you know, he is actually someone who affects the public consciousness of the time. It was amazing. I mean he was a rock star and brilliant and kind and funny and generous and scary when he needed to be and, you know, hard as a father.”

“My father, Norman Mailer, expected a lot from us and he really pushed us and you know one of his favorite lines was, "If you think I'm being hard on you, wait until life hits you because life is a hell of a lot tougher than I am." And I took everything he said to heart. He taught me how to write, which was scary and intimidating and hard, but ultimately one of the biggest gifts I could have ever asked for.”

“I was about 20 when my mom got sick with cancer and it was bad. It was very scary and at the time I was doing my first screenplay and I was on deadline and was alone with my father in Massachusetts. I said, "Pop, you know, I don't how I'm going to work. I don't know how I can get this done. You know, I got to hand this script in and I can't think about anything but Mom." He said, "Well, you know, now is the time when you're going to learn what it means to compartmentalize." And those words really had an impact on me.”

“What it means to be a man is to take on all the emotional pain and work through what you got to work through with the people you love while at the same time getting your business done. And it's tough. I think that most children when they grow up they kind of realize that the things they didn't like about their parents or didn't understand about them they get now and that you know every year you get more responsibilities. You get more overhead. You get more things you got to take care off.”

“My father probably taught me everything I know, aside from dialogue, which I think I get from my mom a lot more. He certainly didn't teach me everything he knew, but you know he has got this book out called "The Spooky Art," which is essentially an advanced book on writing and it's not... You know it's not ABC, but it's for people who feel that bug and know that they're writers and are willing to put in that time alone. Pretty much the vast majority of what he taught me you can find in that book.”

“Work ethic is one of the biggest things my father taught me. That man worked like every day, every day, 9 to 5, well 9 to 9 in his case, but he would treat it as if it was a 9 to 5 job. He would clock in. He would put in his hours. That is how you can write those you know incredibly long books that unfortunately there is not much market for anymore, but that is also how you can explore an idea on a deeper level than we get in our media surface these days. It's tough.”

“That was my dad's sense of, you know, laughing at himself, laughing at existence, the universe, all of it and not being too serious about what we do with because at the end of the day if you're here it's a blessing. It's you know life is hard. Life is hard for everybody at some point, but it's those who are able to laugh at it and laugh with it and roll with it that ultimately I think live the fulfilling lives that we're all trying to do. You know, and big step there is to not take yourself too seriously from the start.”

“I would say the only one person I know of who kind of combines the elements that my father brought to the table in terms of affecting the public discourse would be Oliver Stone. His combination of academic brilliance and real life experience and just understanding people I think is what makes him such a great storyteller, but also he cares. He is interested. He meets somebody and he listens to them. He has some questions. He wants to know what they're about. And as a result I think his worldview is much more complex and whole and most of the other.”

“I don't know if it's possible for anyone to really have that level of a voice anymore because our media is so diluted and parsed out. You know people kind of go for the news and information that they want as opposed to picking up a paper and seeing what catches their eye. It's a very stark difference and there is a few stories that end up going wide and everybody hears about them, but they're usually salacious celebrity stuff that is not about substance or it's the latest disaster and it's kind of covered in a way that is just trying to get eyeballs on the screen.”

“I think that Anderson Cooper does a great job of staying with stories and pushing them. New Orleans he really... He was there and he pushed it past the point where his producers were saying, "Listen, you've got to stop because people are tuning out now. You know, we're on to another disaster." You know, what do you worry about, Haiti, Chile, Turkey? What? You know where do you put your attention and your focus? So for one person to really be able to cover all that ground would be tough.”

“I think that you know you have experts in fields who spend their life studying one thing. When an event goes on that chances are they're going to want that specific expert who has done it to be on the show talking about it, not a writer or an artist of any sort, which I think is a mistake because you know we don't have... I mean we have them, but there is certainly not you know in strong force public philosophers anymore.”

“I think that one of the things that my dad was grappling with towards the end was how that shift had happened now and he would go on a book tour and do his shows and it would be you know fulfilling and good, but he wouldn't have the same impact that he used to and it wasn't because people were less interested. It's just because people are distracted by the million different sources of entertainment and information in front of them at any given time.”

“There's a lot of forces opposed to legalization marijuana, so I don't want to put the cart before the horse. It's looking like it's going the legalization route, which, you know, a lot of people thought it needs to for a long time outside of recreational and medicinal use, just for crime reasons. We're pumping our prisons full of petty weed offenses and it's partially to feed that industry, but it's not good. It's not good for society, people go in there as a minor criminal and come out as a real criminal.”

“What's against legalization in a practical sense? A couple of college kids figured out how to take a hemp plant and turn it into newspaper and it was actually a better quality of paper. It was cheaper and if you plant hemp in a field it revitalizes the soil. You can grow food in a dirt lot if you do enough harvest of hemp. I don't pretend to know the specifics of the economics of it to say how much we'll be getting, but there is money to be made there that is not being made because it's illegal.”

“I remember talking to my dad about legalization in a book we did together called "The Big Empty." He was saying like, "Oh, no, no, as soon as it's legalized it will be ruined." "The corporations will get their hands on it. You'll have, you know, pot with vitamin C and, you know, 'Viagratized High Toke.'" You know different things like that. That it won't be, you know, they'll put chemicals into it. It won't be that pure plant that it is now. He may have a good point there.”

“If you're going to go into the movie business it is so full of heartbreak and you get so close and it doesn't happen and then once in a while it works out and it is the fantasy, like it is that dream. So riding the highs and lows of it you got to have an iron constitution and you got to be able to do what David Dinkins actually one said - "Well you know some days are good, some days are bad, but anytime there is a bad day I know the next day is going to be good and vice versa, so you just can't put too much stock in that moment."”