Terry Zwigoff quotes:

I collect old Coon Chicken Inn memorabilia. I collect black memorabilia, like old minstrel posters. It was a real place. There was one in Seattle, one in Portland, and one in Salt Lake City. They started in 1925, and then they went out of business around 1958.

Whereas my producer literally worked on this thing for 10 years and because I gave that presenter credit to David Lynch, she to this day never gets credit. It really kills me.

My hat's off to documentary filmmakers. I don't know if I'm ever going back to it. You're treated like a second-class citizen at most film festivals. You take the bus while everybody else is flown first-class. If you're a feature film director, you're put in a five-star hotel, and if you're a documentary director, you stay in a Motel 6.

I gotta tell you, I don't have many close friends, and if I do wind up making friends with somebody, it takes me a long time, usually.

I've stopped going to see art films because every critic gives them four stars and say things like 'masterpiece,' 'spellbinding' and 'mesmerizing.' I mean, they're doing that with my film, but I don't want to use those blurbs. Critical reviews aren't worth too much anymore because just about every film can get one or two of them.

I don't like most Christmas movies. They're pretty bad, though they seem to make tons of money anyway. Like this movie 'Elf,' I got the script for that, and I turned it down right away. Against my wife's better judgment.

For a long time, there was this rumor that I turned down doing 'Austin Powers,' which is not true. While they did send me the script, I don't think I was ever a serious consideration to direct it. I'm sure they probably sent it to 20 others as well.

If I see my films described as 'quirky' or, even worse, 'snarky' one more time, I'm going to probably seriously consider an early retirement. All these years, I've labored under the conceit that they were "darkly humorous.'

A lot of things I have turned down ended up being a big embarrassment. Like that script, 'The Beaver.' I thought that was one of the worst scripts I had ever read. But everyone said, 'Ooh it's on the Black List.' Yeah, well, good for it. They're a bunch of idiots. I saw the final film, and there were no surprises.

Luckily, he was in the process of moving to France at the time, anyway. But if he had stayed in the States, I don't know how he would have handled that, because it was getting pretty crazy. I mean, a celebrity which he really did not welcome. And I can't blame him.

When I went around promoting 'Crumb,' there would be days I'd wake up in, like, Houston or Cleveland, and I'd step outside the hotel and get no idea where I was. It all looks the same: one big corporate, consumer theme park. It's all, 'Here's the Starbucks, and here's the Gap, and we'll go over to Banana Republic and the Cineplex.'

People think I have an interest in comics, but I'm only interested in comics from the '40s, like 'Donald Duck' comics.

The last Christmas movie I really liked was 'It's a Wonderful Life,' probably. It's sort of a schmaltzy movie, but it's not without its dark moments. It still gets to me every year.

If I start paying attention to the mechanics of a film while watching it, then it's generally a bad film.

There's no choice left in America anymore. Anything that's authentic and genuine, anything that grew out of any sense of tradition, is wiped out. We're left with this bland monoculture that's swept over the whole country.

Chicago always hit me as such a gloomy place - I just remember all the snow getting dirty as soon as it would fall, all the decaying brown brick buildings around where we lived, all this soot all over the place.

I never saw a department store Santa as a kid. My mother was afraid to take me.

A good script and perfect casting, that's 90 percent of the work.

I try to make a film that's very entertaining, very funny, but also gives you something to think about. And the strongest thing I have to offer is my point of view, to get across how I see the world in hopes that it can change the way other people see the world, hopefully for the better.

And I sense it was a rather constructed, almost half narrative fiction film in some ways. A lot of it was staged and manipulated to get those things in there that I knew to be strong.

The films I want to make, I really want to be passionate about.

Maybe if I found something I was really passionate about, which is entirely possible, I would make another documentary, but it's not a good career choice for anybody. I don't recommend it.

That would be getting up at 5 am... I don't understand why film's shoot such brutal hours. I think it'd be worth it to not be so strictly cost-effective and have an 8 hour day. The film's would benefit in the end.

Crumb was such an influence on me. He's such a visionary, such a great artist, that he so shaped my artistic sensibilities on a certain level that I do owe everything to him. The way I see the world is largely changed by him.

I did turn down 'The Virgin Suicides.' I talked to the producers about it, and I just honestly told them that I didn't get it. Is it supposed to be funny, is it a thriller, what is it?

Saying that all documentaries are the same is like saying all foreign films are the same.

I think my father kept struggling to get us into better neighborhoods, better schools. One of the worst jobs he had was folding shirts under these fluorescent lights all day at the equivalent of a Kmart. I remember visiting him at work, thinking, 'When I grow up, I've got to do anything else.'

The things I want to make into a film, they're personal, esoteric things, and I don't expect anyone else to like them as much as I do. I generally like my films more than anybody else will.

It makes it difficult to decide which to go see, since no film about say, some tragic genocide in Africa is going to get a bad review even if it's poorly made.

Because I found myself telling the story of his family to people without the visual aids that I was able to employ by filming them eventually. But I very much knew exactly what I was going to do.

Certain types of films will never test well. My films never seem to test well.

I hope they get something of interest out of it, but I'd rather they all hate it and I like it, instead of vice versa... I make films to please myself first, and if the audience likes them, all the better.

I was inspired to do anything I could to get out of what I was doing... today, I'm motivated to pay the bills.