Quotes from Terry Southern


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I met Claxton on the set of The Cincinnati Kid.


David Burnett was the son of Martha Foley, who edited the Best American Short Stories series. She hired me to work with David and her to read stories for the anthology.


Writing on a contract for a major studio you get the very best.


When Kubrick decided to go the black comedy route with his movie, he thought of me to give it that flavor.


When I finally made it to the set, I spent a lot of time doing damage control on The Magic Christian.


The Loved One has been the most underrated film I've worked on.


Sometimes we would be staked out in the middle of the river, several barges tied together. So we could party.


It's frustrating not to have more control over your material.


It was a good experience working with Roger Vadim and Jane Fonda.


In the case of The Loved One, I was hired to collaborate on an updated version of the book.


In that sense, film is superior, but the difficulty is your lack of control as a writer.


I met The Beatles and Stones at the same time, because Michael Cooper was doing several of their album covers.


Peter Beard is one of those people I've known a long time. We have an affinity. We share certain values.


I like to work at night.


Grossing Out dealt with the western nations selling arms to the Third World and exploiting these countries.


After Strangelove I also started work on an adaptation of The Collector.


Someone wrote a piece about Henry Green in The Partisan Review that was so intriguing that I got one of his novels, Loving, I believe, which was the first that came to attention in the United States.


It's often the case with directors that they don't like to share credit, which is the case of Stanley. He would prefer just A Film By Stanley Kubrick including music and everything.


You can't do the end of the world in a conventionally dramatic way or Boy Meets Girl way.


For a director and a producer to be named on the writing credits is practically unheard of.