70+ Gene Hackman Quotes That Will Really Boost Your Motivation

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Gene Hackman saying

Gene Hackman quotes that will really boost your motivation. There are so many Gene Hackman quotes that can help you when you are tired of being in the same old rut, and all you need is a little push, a little inspiration, a smile on the face, change of mood, bring you out of the banality of life, make you laugh a little, or may even make you cry a bit, and these Gene Hackman quotes exists just do that.

Gene Hackman is a very famous American actor and also a novelist. In his career that had spanned over 60 years, Gene Hackman had been nominated for five Academy Awards, and he had won the Best Actor in The French Connection and also the Best Supporting Actor for Unforgiven. Gene Hackman had then won four Golden Globes, two BAFTAs and also, one SAG Award.

Gene Hackman had then risen to fame with his performance as the character, Buck Barrow in Bonnie and Clyde, when Gene Hackman had earned his very first Academy Award nomination for Best Supporting Actor. Gene Hackman’s movies include The French Connection-Oscar for Best Actor and French Connection II (1975), I Never Sang for My Father (1970)-Best Supporting Actor nomination, The Conversation (1974), The Poseidon Adventure (1972), Hoosiers (1986), Superman: The Movie (1978), and also, Mississippi Burning (1988).

We have dug up these Gene Hackman quotes from the depths of the internet and brought together best of these sayings in a single article. This post is probably the biggest database of Gene Hackman Sayings in a single place. These famous Gene Hackman quotes have the power to change your life by giving a novel outlook about the way you observe different aspects of your life. Hence, these popular Gene Hackman quotes should be read with caution and proper understanding of the context. Here are tons of Gene Hackman quotes that will open a treasure chest of Wisdom and experiences:

“Dysfunctional families have sired a number of pretty good actors.”

Gene Hackman best quotes

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“I don’t like to talk about myself that much.”

Gene Hackman famous quotes

“I’m not a sentimental guy.”

Gene Hackman popular quotes “I’m disappointed that success hasn’t been a Himalayan feeling.”

Gene Hackman quotes

“The difference between a hero and a coward is one step sideways.”

Gene Hackman saying

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“I was trained to be an actor, not a star. I was trained to play roles, not to deal with fame and agents and lawyers and the press.”

“[on aging] It really costs me a lot emotionally to watch myself on-screen. I think of myself, and feel like I’m quite young, and then I look at this old man
with the baggy chins and the tired eyes and the receding hairline and all that.”

“[on accepting his Best Actor Oscar] I wish all five of us could be up here, I really do.”

“If I start to become a “star”, I’ll lose contact with the normal guys I play best.”

“I came to New York when I was 25, and I worked at Howard Johnson’s in Times Square, where I did the door in this completely silly uniform. Before that, I had been a student at the Pasadena Playhouse, where I had been awarded the least-likely-to-succeed prize, along with my pal Dustin Hoffman, which was a big
reason we set off for New York together. Out of nowhere, this teacher I totally despised at the Pasadena Playhouse suddenly walked by HoJo’s and came right
up into my face and shouted, “See, Hackman, I told you that you would never amount to anything!” I felt one inch tall.”

“[on seeing Marlon Brando in A Streetcar Named Desire (1951) and becoming determined to be an actor] He made it seem something natural.”

“I wanted to act, but I’d always been convinced that actors had to be handsome. That came from the days when Errol Flynn was my idol. I’d come out of a
theater and be startled when I looked in a mirror because I didn’t look like Flynn. I felt like him.”

“I suppose I wanted to be an actor from the time I was about 10, maybe even younger than that. Recollections of early movies that I had seen and actors that I admired like James Cagney, Errol Flynn, those kind of romantic action guys. When I saw those actors, I felt I could do that. But I was in New York for about eight years before I had a job. I sold ladies shoes, polished leather furniture, drove a truck. I think that if you have it in you and you want it bad
enough, you can do it.”

“People in the street still call me Popeye, and The French Connection (1971) was 15 years ago. I wish I could have a new hit and another nickname.”

“When you’re on top, you get a sense of immortality. You feel you can do no wrong, that it will always be good no matter what the role. Well, in truth, that
feeling is death. You must be honest with yourself.”

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“I haven’t held a press conference to announce retirement, but yes, I’m not going to act any longer. I’ve been told not to say that over the last few years,
in case some real wonderful part comes up, but I really don’t want to do it any longer … I miss the actual acting part of it, as it’s what I did for almost
fifty years, and I really loved that. But the business for me is very stressful. The compromises that you have to make in films are just part of the beast,
and it had gotten to a point where I just didn’t feel like I wanted to do it anymore.”

“[In a 2011 GQ interview, when asked if he would ever come out of retirement and make another film] I don’t know. If I could do it in my own house, maybe,
without them disturbing anything and just one or two people.”

“[on making The French Connection (1971)] I found out very quickly that I am not a violent person. And these cops are surrounded by violence all the time.
There were a couple of days when I wanted to get out of the picture.”

“(2011, on how he’d like to be remembered) As a decent actor. As someone who tried to portray what was given to them in an honest fashion. I don’t know,
beyond that. I don’t think about that often, to be honest. I’m at an age where I should think about it.”

“(2011, on where he keeps his Oscars) You know, I’m not sure; I don’t have any memorabilia around the house. There isn’t any movie stuff except a poster
downstairs next to the pool table of Errol Flynn from The Dawn Patrol (1938). I’m not a sentimental guy.”

“(2011, on Hoosiers (1986)) I took the film at a time that I was desperate for money. I took it for all the wrong reasons, and it turned out to be one of
those films that stick around. I was from that area of the country and knew of that event, strangely enough. We filmed fifty miles from where I was brought
up. So it was a bizarre feeling. I never expected the film to have the kind of legs it’s had.”

“[on whether he will ever come out of retirement and act again] Only in reruns. Yeah, that’s it. I’m at a place where I feel very good about not having to
work all night.”

“[on writing novels] With me it takes quite a long time, at least a year maybe a little more by the time I go through two or three edits, professional edits,
but it’s still fun because it’s always a challenge.”

“Our dreams are usually limited by some kind of reality check and because a guy thinks because he can pluck a guitar a couple of strokes he thinks he’s going
to be Elvis Presley or whoever.”

“[beginning his acceptance speech at the Golden Globes, when he won Best Supporting Actor for Unforgiven (1992) thinking he wouldn’t win] Heck, I’ve just lost a hundred bucks.”

“I’d gotten very depressed after Scarecrow (1973) and The Conversation (1974) failed to make money. I was drinking and started to say: ‘Hell, I’ll do movies
that will definitely make money and then I’ll have plenty of dough.’ I took pictures to play it safe and they turned out to be very dangerous for me.”

“(On missing the role of Dr. Berger in Ordinary People (1980)) I would’ve loved it. I didn’t turn it down, we couldn’t make a deal. I wanted some points and
they were willing to give me some, but not enough to make the picture feasible. Just one of those deals that fell apart.”

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“(On missing the lead role in Klute (1971)) I wanted it desperately but Jane Fonda vetoed me.”

“(On losing the role of Mr. Robinson in The Graduate (1967)) A painful experience. My fault, I guess I didn’t understand Mr Robinson because I couldn’t make
him funny. That’s why I believe it takes ten years to become an actor. Luckily, Bonnie and Clyde (1967) was just gonna be released. If I hadn’t had a really
good performance under me, that would have really done me great damage.”

“(On turning down the role of Lips Manlis in Dick Tracy (1990)) I’d just come off a picture a couple days before and was starting another in three days. I was just too tired.”

“You go through stages in your career that you feel very good about yourself. Then you feel awful, like, ‘Why didn’t I choose something else?’ But overall I’m pretty satisfied that I made the right choice when I decided to be an actor.”

“I do not like assassins, or men of low character.”

“Once, I optioned a novel and tried to do a screenplay on it, which was great fun, but I was too respectful. I was only 100 pages into the novel and I had
about 90 pages of movie script going. I realized I had a lot to learn.”

“I have trouble with direction, because I have trouble with authority. I was not a good Marine.”

“Things parents say to children are oftentimes not heard, but in some cases you pick up on things that your parent would like to see you have done.”

“I went in the Marines when I was 16. I spent four and a half years in the Marines and then came right to New York to be an actor. And then seven years later, I got my first job.”

“Hollywood loves to typecast, and I guess they saw me as a violent guy.”

“My early days in Broadway were all comedies. I never did a straight play on Broadway.”

“If you look at yourself as a star, you’ve already lost something in the portrayal of any human being.”

“If I start to become a star, I’ll lose contact with the normal guys I play best.”

“I lost touch with my son in terms of advice early on. Maybe it had to do with being gone so much, doing location films when he was at an age where he needed
support and guidance.”

“My grandfather had been a newspaper reporter, as was my uncle. They were pretty good writers and so I thought maybe somewhere down the line I would do some
writing.”

“My wife and I take what we call our Friday comedy day off. We watch standup comics on TV. The raunchier the better. We love Eddie Izzard.”

“I write in the morning from about eight till noon, and sometimes again a bit in the afternoon. In the morning I start off by going over what I had done the
previous day, which my wife has happily typed up for me.”

“The worst job I ever had was working nights in the Chrysler Building. I was part of a team of about five guys, and we polished the leather furniture.”

“I left home when I was 16 because I was looking for adventure.”

“My mother and I were at a film once, and we came out through the lobby and she said, ‘I want to see you do that someday.’ And that was all that was needed. Because I already wanted to do it. But you have to have somebody tell you, or you need to be pushed a bit. And that’s the only thing she’s ever said to me about acting. Was she wanted to see me do that.”

“Dysfunctional families have sired a number of pretty good actors.”

“[W]orking nights in the Chrysler Building. I was part of a team of about five guys, and we polished the leather furniture. We had to work all night because people needed their chairs during the day. I wasn’t very good at it.”

“You go through stages in your career that you feel very good about yourself. Then you feel awful, like, Why didn’t I choose something else? But overall I’m pretty satisfied that I made the right choice when I decided to be an actor.”

“The overall screenplay first, then the character proposed to me, and after that the director and other actors—almost always in that order. Of course, in the Seventies I took a couple of pictures because of the locale….”

“If you look at yourself as a star you’ve already lost something in the portrayal of any human being. … I need to keep myself on the edge and keep as pure as possible. You need something to bring you down to a sense of who you are and who you’re portraying. You need to remember you’re not a movie star and that you shouldn’t be too happy. You should never take anything for granted.”

“I always try to find in these bad guys, something that’s human that makes them even more diabolical. If you see someone that’s all bad, you kind of just put them in the monster category. But if you see someone who is really bad, but is also a father and a grandfather and all of that, that’s even worse, I think.”

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“I do the same thing now was when I was just starting, I ask myself a few questions: How is this character like me? How is he unlike me? In the difference between these two, what is important? What choices can I make which will further the author’s intent? I ask myself where, when, why—real simple questions. I do an atmospheric kind of thing by dealing with objects such as where I’ve been when I come into a room, where I’m going when I leave it. Before every scene, I still do the same relaxation exercises [acting teacher George Morrison] taught me 20-odd years ago. First-year acting tasks. Those work for me.

“Of course, you can’t do just that. You have to make good choices and do a lot of technical things, too. It took ten years for me to fill up as a person, but once I became mature all of that kicked in in a simple, direct way.”

“I think all good actors do that. That you have to commit. Otherwise, you’re going to see that film down the line and it’s going to bite you right in the butt.”

“That night was like a dream. It was like I was standing in back of the theater and watching it through a lot of smoke. I just floated from my seat.”

“It’s always hard for me, perhaps because there’s such a contradiction between fighting and the craft of acting. If you really fight somebody in a scene, it negates your craft. And since I’m only interested in my craft, it has to be resolved anew each time.”

“I don’t watch my films unless I absolutely have to. I get very nervous. It’s more my perception of myself, or my desire of what I would like to look like. All I see are the double chins and the bags under the eyes and the receding hairline. … I feel like when I’m actually doing the work, I know what I’m doing and I feel good about most of the stuff that I do. But when I see it on the screen, I have no idea if it’s good, bad or indifferent. I can’t be objective. I leave it up to other people to tell me.”

“I miss the actual acting part of it, as it’s what I did for almost 60 years, and I really loved that. But the business for me is very stressful. The compromises that you have to make in films are just part of the beast, and it had gotten to a point where I just didn’t feel like I wanted to do it anymore.”

“Always in the morning. I can’t write past two o’clock in the afternoon. If I do, then I’m up all night. I have a little office, you might call it. It’s just a writing desk and a pretty comfortable chair. I write longhand and I go back and I go over it I don’t know how many times and I hand it to the professor and she types it up. Then we go over it a number of times and get a little bit of a critique from the wife and like that.”

“Write what’s in your heart. To be fulfilled as a writer, you have to write something that you care about.”

“Nothing counts so much as family, the rest are just strangers.”

“Gentlemen, trials are too important to be left up to juries.”

“I look at you and I see two men: the man you are and the man you oughtta be. Someday those two men will meet, and it should make for one hell of a football player.”

“Strap, God wants you on the court.”

“Look son, being a good shot, being quick with a pistol, that don’t do no harm, but it don’t mean much next to being cool-headed. A man who will keep his head and not get rattled under fire, like as not, he’ll kill ya. It ain’t so easy to shoot a man anyhow, especially if the son-of-a-bitch is shootin’ back at you.”

“There’s a strong streak of good in you Superman, but then nobody’s perfect … almost nobody.”

“I’m not afraid of death, but I am afraid of murder.”

“The next time, the next time? What am I going to do with you people huh? I hold up my end, delivered you the Blue Boy — and what do I hear from my triple threat? “Bow, yield, kneel” — that kind of stuff closes out of town.”

“Down here, things are different; here, they believe that some things are worth killing for.”

“A real man admits his fears. That’s what I’m asking you to do here tonight.”

“It was silly of me to expect [my father] to change or to understand what he had done. So I decided I wasn’t obliged to be angry anymore, and I feel very good that we were able to spend time together during the five years before he died.”

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