For me, growing up, the downside of it was that as a kid you don't want to stand out. You don't want to have a famous father let alone get a job because of your famous father, you know? But I'm a product of nepotism. That's how I got my foot in the door, through my dad.— Jeff Bridges
The most fascinating Jeff Bridges quotes that will inspire your inner self
35 million people in the U.S. are hungry or don't know where their next meal is coming from, and 13 million of them are children. If another country were doing this to our children, we'd be at war.
Making films is sort of like you're pulling off a magic trick.
It's sort of like an illusion. It's not real but you want it to appear real, and all kinds of things go into that, from the clothes you're wearing to the make-up, to the light.
You've got to take care of yourself on the path, not just when you cross the goal line, because don't forget, wherever you are, that's the goal line.
I've had really great experiences working with first-time directors.
They come at filmmaking with fresh ideas. I've been very lucky that way.
Movies are like magic tricks.
Basically, one of the hardest things about being an actor is getting your first break. I'm a product of nepotism. The doors were open to me. I'd done several movies before I decided what I wanted to do.
Sticking with a marriage. That's true grit, man.
During my early years, I thought I might be a musician.
Like most kids, I didn't do what my parents wanted me to do. They were gung-ho that all their kids become actors. They loved showbiz so much. I am a product of nepotism, basically.
It's not enough just to treat women well. We have to work to make sure all men treat women well.
One of the things I want to do that's outside the realm of acting and the arts - although both have their place in this - is ending childhood hunger here in America.
This idea of how everything is interconnected, and the impermanence of things.
. It sums up the human condition to me, and it helps me on my path.
If some crazy idea stays in my head for long enough, then there's no fighting it. I just say, Okay, let's go.
One of the greatest feelings in the world is knowing that we as individuals can make a difference. Ending hunger in America is a goal that is literally within our grasp.
You can change things, you can make things better.
I'm very manipulative towards directors.
My theory is that everyone on the set is directing the film, we're all receiving art messages from the universe on how we should do the film.
The problem with the designated driver programme, it's not a desirable job.
But if you ever get sucked into doing it, have fun with it. At then end of the night drop them off at the wrong house.
Most cynics are really crushed romantics: they've been hurt, they're sensitive, and their cynicism is a shell that's protecting this tiny, dear part in them that's still alive.
I confessed to Mike [Cimino] a couple of days before we shot.
I was like, "What am I doing here, Mike?" And Mike just looked at me, in that very directorial manor, took a long pause, and he said, "You know the game tag?" And I said, "Yeah." And he said, "Well, you're it." That was some of the best direction I think I've ever received.
Working with my dad was such a gas. We approached the work in a similar way. We only made two films together when I was an adult, Tucker, and Blown Away, but it was so much fun to play with your parent like that.
A large part of acting is just pretending.
You get to work with these other great make-believers, all making believe as hard as they can.
It's like that perfection thing, trying to be that thing you're not.
You have to feel that discomfort and not try to get rid of it. Accept that aspect and get into it. Acknowledge those feelings and let them be. You are who you are.
I had years of partying, and I was kind of surprised and happy I survived it all. Now, being a parent, I look back on it thinking, Oh God, the things you did!
As far as Beau is concerned, we're on the same team, we root for each other.
If my parts are slightly more attractive, or are perceived that way by others, he's very content.
I had a great '70s. I survived it, and that's always good news.
When you truly commit in your life, you start receiving more than you could imagine.
I love John Irving's stuff. It's that marriage of comedy and tragedy. It's really terrific.
You don't want to vilify your ego.
I did [Michael Cimino] first movie, "Thunderbolt and Lightfoot," and I remember I was still in my twenties and very nervous, we're shooting up in Montana, and I'm thinking, "What the hell am I doing here? I don't feel anything like this part.
I have my prized possession in my wallet.
That's a photograph of the first words I ever uttered to my wife, and her answer to my question when I asked her, "Will you go out with me?"
With a labyrinth, you make a choice to go in - and once you've chosen, around and around you go. But you always find your way to the center.
Memories are not just about the past. They determine our future.
Obviously it's fun to let yourself go and eat a pint of Haagen Dazs, but being healthy feels the best. Sobriety and health is the greatest thing.
You don't really have to do the things that your character is doing.
But us actors, we use something called sense memory. I've certainly been drunk before, and part of my job is to recall that without getting drunk.
As far as the lack of hits goes, I think perhaps it's because I've played a lot of different roles and have not created a persona that the public can latch on to. I have played everything from psychopathic killers to romantic leading men, and in picking such diverse roles I have avoided typecasting.
Sometimes you'll have a movie that you're very proud of and you think it transcended all of your expectations but it doesn't come out at the right time. I have done movies that have never been released. That can be depressing.
I play music as much as I can. I have a band called The Abiders. We've put out a couple of albums you can find on iTunes. We tour and all that stuff, so music is very much a part of my life.
My m.o. as far as choosing projects is I really try not to work. I try to not do the scripts that are offered me. I'm in this wonderful position to be able to do that. The reason I do that is because I know what it takes once I engage, what that means for me personally and for my wife.
I've worked with a lot of kids, and when you're working with kids they have certain hours that they have to work.
Sure, I get the blues. But what I try to do, is apply joy to the blues, you know? I don't know if it's a technique, or just being bent that way, being raised by the folks I was raised by.
I've done quite a few movies, I generally can feel that I'm not right for the role or a general fear if I can pull it off, and him giving that "tag" so to speak gave me the confidence. Like that Miles Davis line, "Don't worry about mistakes, there aren't any." Once you are the part, you're the guy, so you can't not be the guy because you're it.
If you're married you'll have tough times.
Well, when we made 'Tron' there was no internet, no cellphones.
What I learned most from my father wasn't anything he said;
it was just the way he behaved. He loved his work so much that, whenever he came on set, he brought that with him, and other people rose to it.
Everybody loses a couple, and you either pack it up and go home or you keep on fighting.
I went through a very hairy period. I had a movie where I was going to play Walt Whitman that fell through. At the time, I had grown this huge beard and very long hair. But then, the movie got canceled, I had some other parts, and I currently have very short hair. So, when I look in the mirror, I don't know who I am exactly. It's interesting.
I don't really care about having more fame than I have.
I consider myself pretty lazy, but I look back and check out the stuff I've done, and I say, 'God, that's a lot of stuff for a lazy guy.' It's a paradox, I suppose, being both things.
Sometimes you feel you're making something really special and when it comes out you might still feel that way but for some reason it doesn't get the audience. So many things have to come together to get a creatively successful and financially successful film.