70+ Henry Fonda Quotes That Will Make You Believe In Yourself

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Henry Fonda best quotes

Henry Fonda quotes that will make you believe in yourself. There are so many Henry Fonda 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 Henry Fonda quotes exists just do that.

Henry Fonda had been a very famous movie and stage actor and has a career spanning over 50 years.

Henry Fonda had made his mark as a Broadway actor, and he had made appearances in plays and performed in White Plains, New York, with Joan Tompkins. Henry Fonda had then made his Hollywood debut in the year, 1935, and Henry Fonda’s career had earned momentum after the Academy Award-nominated performance as the character, Tom Joad in The Grapes of Wrath, which is an adaptation of John Steinbeck’s novel.

All throughout his time in Hollywood, Henry Fonda had cultivated a strong, and also appealing screen image like Mister Roberts, The Ox-Bow Incident, and also, 12 Angry Men. Henry Fonda had then moved toward darker epics like Sergio Leone’s Once Upon a Time in the West and also a few roles in family comedies like Yours, Mine and Ours.

We have dug up these Henry Fonda 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 Henry Fonda Sayings in a single place. These famous Henry Fonda 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 Henry Fonda quotes should be read with caution and proper understanding of the context. Here are tons of Henry Fonda quotes that will open a treasure chest of Wisdom and experiences:

“I don’t want to be in a fake war in a studio.”

Henry Fonda best quotes

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“I don’t want to just sell war bonds. I want to be a sailor.”

Henry Fonda famous quotes

“I’m not really Henry Fonda. Nobody could have that much integrity.”

Henry Fonda popular quotes

“No one could have nicer sisters. No sibling problems there.”

Henry Fonda quotes “The best actors do not let the wheels show.”

Henry Fonda saying

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“I hope you won’t be disappointed. You see I am not a very interesting person. I haven’t ever done anything except be other people. I ain’t really Henry
Fonda! Nobody could be. Nobody could have that much integrity.”

“I’m not that pristine pure, I guess I’ve broken as many rules as the next feller. But I reckon my face looks honest enough and if people buy it, Hallelujah.”

“Baby it out. That’s an old marble shooter’s expression for approaching your target cautiously instead of trying to take it out with one shot.”

“[about director Sergio Leone] Next to Clint Eastwood’s father, he personally had done more for ‘Clint Eastwood’ than anyone else.”

“[speaking in 1978] I guess I go overboard to avoid taking credit for the image I have. That’s why it’s easier to live with myself. I don’t feel I’m totally a man of integrity.”

“If there is something in my eyes, a kind of honesty in the face, then I guess you could say that’s the man I’d like to be, the man I want to be.”

“I look like my father. To this day, when I walk past a mirror and see my reflection in it, my first impression is: That’s my father. There is a strong Fonda
look.”

“[on Jane Fonda and Peter Fonda, 1976] “I didn’t help or discourage them or lead them by the hand. I’m not trying to set myself up as a good father, because I wasn’t a good father. But I think I knew instinctively that if they did make it, they would like to know they’d done it on their own. I recognise all the
problems my children have had, and I don’t claim any credit for what they’ve become. They’ve become what they are in spite of me.”

“I can’t articulate about the Method because I never studied it. I don’t mean to suggest that I have any feelings one way or the other about it. I don’t know
what the Method is and I don’t care what the Method is. Everybody’s got a method. Everybody can’t articulate about their method, and I can’t, if I have a
method – and Jane sometimes says that I use the Method, that is, the capital letter Method, without being aware of it. Maybe I do, it doesn’t matter.”

“I’ve been close to Bette Davis for thirty-eight years – and I have the cigarette burns to prove it.”

“[on director John Ford] It has to do with the fact that Ford, for all his greatness, is an Irish egomaniac, as anyone who knows him will say.”

“[on John Ford] He had instinctively a beautiful eye for the camera. But he was also an egomaniac.”

“[on John Ford] He was so egomaniacal. He would never rehearse, didn’t want to talk about a part. If an actor started to ask questions he’d either take those
pages and tear them out of the script or insult him in an awful way. He loved getting his shot on the first take, which for him meant it was fresh. He would
print the first take — even if it wasn’t any good.”

“[on War and Peace (1956) and referring to author of book Leo Tolstoy] When I first agreed to do it, the screenplay by Irwin Shaw was fine, but what happened? King Vidor used to go home nights with his wife and rewrite it. All the genius of Tolstoy went out the window.”

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“Money must be, I guess, what first took me to Hollywood. When I first came out, I certainly had NO ambition to make pictures.”

“I don’t really like myself. Never did. People mix me up with the characters I play. I’m not a great guy like Doug Roberts [in ‘Mister Roberts’]. I’d like to
be but I’m not.”

“[on stage acting] Anyone who gives the same performance he gave on opening night is not doing a good job. Unless a performance is growing constantly, unless
the actor is finding new insights into the character, he must grow stale.”

“[on the producers of “War and Peace”] Their idea of Pierre was that he look as much like Rock Hudson as possible.”

“[on Marlon Brando] I don’t think there’s anybody better when he wants to be good.”

“At a roast for Bette Davis, after many references to her chain smoking, Fonda said we really didn’t mean to burn down the sets on Jezebel, but there was
Bette and those damned cigarettes, which resulted in uproarious laughter.”

“I wasn’t smart enough to be discouraged. I keep saying that and I don’t think anybody really understands or believes it…. I didn’t ever think about doing
anything else. I wasn’t prepared to do anything else. I hadn’t any talent to do anything else.”

“I didn’t help or discourage them or lead them by the hand. I’m not trying to set myself up as a good father, because I wasn’t a good father. But I think I knew instinctively that if they did make it, they would like to know they’d done it on their own. I recognise all the problems my children have had, and I don’t claim any credit for what they’ve become. They’ve become what they are in spite of me.”

“I’ve been close to Bette Davis for thirty-eight years – and I have the cigarette burns to prove it.”

“If there is something in my eyes, a kind of honesty in the face, then I guess you could say that’s the man I’d like to be, the man I want to be.”

“I look like my father. To this day, when I walk past a mirror and see my reflection in it, my first impression is: That’s my father. There is a strong Fonda look.”

“It has to do with the fact that Ford, for all his greatness, is an Irish egomaniac, as anyone who knows him will say.”

“When I first agreed to do it, the screenplay by Irwin Shaw was fine, but what happened? King Vidor used to go home nights with his wife and rewrite it. All the genius of Tolstoy went out the window.”

“He had instinctively a beautiful eye for the camera. But he was also an egomaniac.”

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“He was so egomaniacal. He would never rehearse, didn’t want to talk about a part. If an actor started to ask questions he’d either take those pages and tear them out of the script or insult him in an awful way. He loved getting his shot on the first take, which for him meant it was fresh. He would print the first take — even if it wasn’t any good.”

“I must have had faith that day. When I went out, I was Henry Fonda again. An unemployed actor but a man.”

“It has to do with the fact that Ford, for all his greatness, is an Irish egomaniac, as anyone who knows him will say.”

“My thinking was scrambled when Sullivan and I separated. Something happened to me that had never happend before. I couldn’t cope. It was heartbreak time. I thought it was the end of the world.”

“I guess I go overboard to avoid taking credit for the image I have. That’s why it’s easier to live with myself. I don’t feel I’m totally a man of integrity.”

“For me, college wasn’t a breeze. I had 8 o’clock classes, I worked from 3 to 11 at the Settlement House. On weekends, if Northwestern Bell needed me, I’d troubleshoot for them, and I had a steady girl. God!”

“Ford didn’t know what to do with Mister Roberts that wasn’t repeating what was successful in New York. He was trying to do things to the play that would be his in the film.”

“I’d just as soon not get into a discussion about Jane and her politics. I’d just as soon stick to what we’re here for, the picture.”

“I can’t articulate about the Method because I never studied it. I don’t mean to suggest that I have any feelings one way or the other about it. I don’t know what the Method is and I don’t care what the Method is. Everybody’s got a method. Everybody can’t articulate about their method, and I can’t, if I have a method – and Jane sometimes says that I use the Method, that is, the capital letter Method, without being aware of it. Maybe I do, it doesn’t matter.”

“My whole damn family was nice. I don’t think I’ve imagined it. It’s true. Maybe it has to do with being brought up as Christian Scientists. Half of my relatives were Readers or Practitioners in the church.”

“I’m not that pristine pure, I guess I’ve broken as many rules as the next feller. But I reckon my face looks honest enough and if people buy it, Hallelujah.”

“Baby it out. That’s an old marble shooter’s expression for approaching your target cautiosly instead of trying to take it out with one shot.”

“I hope you won’t be disappointed. You see I am not a very interesting person. I haven’t ever done anything except be other people. I ain’t really Henry Fonda! Nobody could be. Nobody could have that much integrity.”

“I found myself facing a Christian Science Reading Room. My God! It had been eight years. There had never been any renunciation of religion on my part, but like so many people, it was a gradual fading away.”

“It has to do with the fact that Ford, for all his greatness, is an Irish egomaniac, as anyone who knows him will say. -on director John Ford”

“When I first agreed to do it the screenplay by Irwin Shaw was fine, but what happened? King Vidor used to go home nights with his wife and rewrite it. All the genius of Tolstoy went out the window. – On War and Peace (1956)”

“I don’t know what was in his mind, but I do know Ford was stricken by what he had done, by hitting me.”

“Next to Clint Eastwood’s father, he personally had done more for Clint Eastwood than anyone else. – about Sergio Leone.”

“It is dialogue spoken by Henry Fonda, whose Tom Joad is one of the great American movie characters, so pure and simple and simply therein the role that he puts it over. Fonda was an actor with the rare ability to exist on the screen without seeming to reach or try, and he makes it clear even in his silences how he has been pondering Preacher’s conversion from religion to union politics. We’re not surprised when he tells Ma, ‘Maybe it’s like Casy says. A fella ain’t got a soul of his own, just a little piece of a big soul. The one big soul that belongs to everybody.’ Just as, in the dream of One Big Union, transcendentalism meets Marxism.”

“John Steinbeck’s ‘The Grapes of Wrath’ also speaks urgently to today’s concerns: the cratered trail of dreams for Mexican immigrants seeking a promised land in the Western [United States]; the perfidy of banks in foreclosing on poor people’s homes; and the insurgent urge of the book’s protagonist, Tom Joad, to speak truth to police power. ‘Wherever there’s a cop beatin’ up a guy,’ Tom promises, ‘I’ll be there.’ In Salinas, Calif., Ferguson, Mo., or Staten Island, N.Y., Tom’s truth goes marching on.”

“The Grapes of Wrath” novelist said Fonda’s portrayal of Tom Joad made him “believe my own words.”

“The most mature motion picture that has ever been made, in feeling, in purpose, and in the use of the medium.”

“Tom Joad walked down to the neighbor’s farm, Found his family. They took Preacher Casey and loaded in a car, And his mother said, ‘We’ve got to get away.’ His mother said, ‘We’ve got to get away.’ ”

“The highway is alive tonight, But nobody’s kidding nobody about where it goes, I’m sitting down here in the campfire light, With the ghost of old Tom Joad.”

“Ford’s cameras turn off a white-striped highway, follow Tom Joad scuffling through the dust to the empty farmhouse, see through Muley’s eyes the pain of surrendering the land and the hopelessness of trying to resist the tractors. A swift sequence or two, and all that Steinbeck said has been said and burned indelibly into memory by a director, a camera and a cast.”

“Ma, there comes a time when a man gets mad.”

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“I looked down from our bridge and saw our captain’s palm tree! Our trophy for superior achievement! The Admiral John J. Finchley award for delivering more toothpaste and toilet paper than any other Navy cargo ship in the safe area of the Pacific.”

“There were 11 votes for guilty. It’s not easy to raise my hand and send a boy off to die without talking about it first.”

“Son, this is a Washington, D.C. kind of lie. It’s when the other person knows you’re lying and also knows you know he knows.”

“Gentlemen and fellow citizens, I presume you know who I am; I’m plain Abraham Lincoln. My politics are short and sweet, like the old woman’s dance.”

“Were we better than the Japanese, or just luckier?”

“Men, that is, lot of men, are more careful in choosing a tailor than they are in choosing a wife… I think that if there’s one time in your life to be careful, to weigh every pro and con, this is the time.”

“[speaking to U.S. Army M.P.s he knew were Germans in disguise at the fuel supply camp, in a sarcastic voice] Does the road to Amblève still lead to Malmedy?
[then he shoots them] ”

“It’s the other way around. The name’s Brown… from the Governor’s office. Every time somebody puts a little capital into this territory, I’m called into the office and sent on my way. It don’t make no difference that I suffer from rheumatism or that I’m past the age to ride a mule’s back. A man who files a claim that yields, it’s a town. If he finds grass, it’s a town. If he digs a well, it’s a town. And I have to charter them all. If the claim pitches out, the grass dies, the well dries out, everybody rides off to form up again. New territory for me to travel. Nobody fixes in this country. Everybody is blowing around with the wind. You can’t bring law to a bunch of rocks. You can’t make a society out of sand. Sometimes, I think we’re worse than the Indians. What’s the name of this town? ”

“But he had always believed in fighting for the underdog, against the top dog. He had learned it, not from The Home, or The School, or The Church, but from that fourth and other great moulder of social conscience, The Movies. From all those movies that had begun to come out when Roosevelt went in.

He had been a kid back then, a kid who had not been on the bum yet, but he was raised up on all those movies that they made then, the ones that were between ’32 and ’37 and had not yet degenerated into commercial imitations of themselves like the Dead End Kid perpetual series that we have now. He had grown up with them, those movies like the every first Dead End, like Winternet, like Grapes Of Wrath, like Dust Be My Destiny, and those other movies starring John Garfield and the Lane girls, and the on-the-bum and prison pictures starring James Cagney and George Raft and Henry Fonda.”

“We don’t have to relive the sad and bad memories of Christmas Past. We can create new Christmas memories in the present for the future.”

“I’ve been close to Bette Davis for thirty-eight years – and I have the cigarette burns to prove it.”

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