The Boys Quotes

“Time moves more slowly when you’re young, because life is still new to you, a process of discovery.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“deepened with time. Nowadays I am often the veteran on the set. I try to be conscious of the effect that my words and actions have on the people with whom I’m working, mindful of how one single comment could affect someone’s life trajectory . .”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“Make sure you take some animation classes, because animation is pure filmmaking. You don’t have to deal with the actors.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“Cards, Cads, Guns, Gore, and Death is a good piece of guerrilla filmmaking. Ron’s opening shot is an impressive piece of camerawork. Starting close on a pile of poker chips, Ron then pulled back and followed the action from player to player. It’s like a kid version of the crane shot that opens Orson Welles’s Touch of Evil. And the splatters turned out really well. We nailed the “gore and death” part. I sometimes grumbled about being in Ron’s little movie projects because I’d grown accustomed to getting paid to act and I wanted to play with my friends. Still, these were good times. I have since worked with a hundred adult directors who couldn’t hold a candle to the sixteen-year-old Ron Howard. I could see that he had the goods: a knowledge of camera angles, the discipline to light scenes correctly, a facility for directing his actors. In some regards, nothing has really changed. I’m still acting in Ron Howard movies, with a full understanding that he is the general and I am a private. I have my opinions on how I would do a scene, but ultimately, you do what the director says. That’s part of the discipline that Dad taught us. It was during this time that Ron decided that he wanted to be called Ron instead of Ronny. Actually, he decided initially that his directorial name would be Ronn Howard, with two n’s. However the hell he wanted to spell it, I respected his choice. Being called Opie all the time was one of the worst things he had to endure as a kid. I thought that “Ronn” looked weird in the credits, but he wanted to shed his little-kid image, so I fully supported him.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“Yep, big surprise. I reported for duty, the Robert De Niro to Ron’s Marty Scorsese. I played Card Player #3, the one who got shot in the back. My friend Scott Greene manned the bicycle pump. His brother, Steve, played the sheriff. The other two cardplayers were Hoke Howell’s sons, Scott and Stark. Dad sometimes included me in his moviegoing outings with Ron. When we went to see The Wild Bunch, I witnessed in real time the idea for Ron’s splatter pic sparking in his brain—an expression of excitement came over his face. At home, I helped him work out the logistics of using the tubes and the pump. Then we scrounged up hats, bandannas, ponchos, and sunglasses so that the cardplayers looked convincingly outlawlike. But our attempts at authentic period costuming were compromised by budget constraints. We all wore white T-shirts because we needed cheap clothes that we could sacrifice to the ketchup-stain gods.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“With my own money, I bought a Bauer Super 8 camera, intent on putting my newly accumulated filmmaking knowledge to use. I would make a Peckinpah-style splatter pic with a few Old West nods to Leone and a killer title: Cards, Cads, Guns, Gore, and Death. The plot of this two-minute silent masterpiece-in-the-making was simple. Three cowboys are playing poker in a dusty saloon. One takes exception to the other’s winning hand and shoots the winner dead. Then the third guy shoots the shooter dead. A fourth guy, the sheriff, comes upon the scene and shoots the third guy from behind, killing him. Then he shakes his head in disgust, lamenting the waste of it all. The end. That was the easy part. The hard part was authentically portraying the carnage on a nonexistent budget. In my curiosity about filmmaking, I took to bending the ears of everyone with a specialized job on the sets I worked on. A special-effects guy gave me the intel on how they did gunshot wounds in Bonnie and Clyde and The Wild Bunch.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“It was on my third viewing of Henry Levin’s 1959 movie Journey to the Center of the Earth that I first stumbled upon an exercise I still use today. I had left the living room with the TV’s sound turned low, and when I returned for the “exciting conclusion” that the program’s announcer always promised, I came upon my favorite action sequence, in which the protagonists encounter a convincingly real-looking dimetrodon dinosaur. I had long wondered how the filmmakers pulled this off. With the sound down, I could more easily decode the techniques and effects at work. I noticed that the monstrous dinosaur was actually an iguana of some kind with a spine sail glued to its back. I figured out that the ruins of Atlantis were really carefully rendered matte paintings. I identified the camera setups that the filmmakers used to stage the sequence and make the audience believe every second of it. Thereafter, I lowered the sound whenever there was a scene that I wanted to study closely. With my own money, I bought a Bauer”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“The football monologue catapulted Andy into a career in radio and on Broadway. In 1957, he got his shot at film stardom, debuting in Elia Kazan’s astonishing A Face in the Crowd, written by Budd Schulberg. The movie, a dark, prescient take on American politics and mass media, is more appreciated now than it was at the time of its release. But even then, critics were mesmerized by Andy’s fiery performance as Lonesome Rhodes, a small-time radio host who, as his popularity snowballs, transforms into a lusty, egomaniacal demagogue. Many years later, when I was a young adult, Andy told me that playing Lonesome Rhodes had been a harrowing experience for him. Kazan was a brilliant director, he said, but he had manipulated and provoked Andy to summon his darkest, ugliest thoughts and impulses, and the process about wrecked him. “I don’t ever want to do that again,” Andy said. “I like to laugh when I’m working.” Andy had his pick of dramatic roles after A Face in the Crowd, but he chose not to go down that path—the psychological toll had been too high. To some degree, Andy said, Mayberry and the benevolent Sheriff Andy Taylor were a conscious response to Lonesome Rhodes, embodiments of rural America at its best.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“The security team there was unprepared and Henry and Donny were trapped at one point, separated from their limousine by an unregulated mass of humanity. Crisis was averted only when Henry put on his Fonzie voice to address the crowd, "I want to tell you something now." He said, "You're going to part like the red sea." He snapped his fingers, the same way he did on the show to summon chicks. The crowd obediently opened up a pathway to the car. When all four of us met up in Philadelphia, Hansen and I got a sense of how intense Fonzie-mania had already become.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“As my Dad says in these pages, the success our family has achieved is something no of us takes for granted. It wasn't destined. And we could have just as easily ended up Oklahoma farmers as Hollywood creators. As is so often the way, a few breaks in a different direction, in what might feel like fate would have unfolded along a now unrecognizable path.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“It takes a commitment to nurture family relationships over years and decades:”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“The best I can explain this uncharacteristic outburst is that I had seen a coach go ballistic on TV, and the actor in me overtook the coach.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family

“These pages capture a turning point in the entertainment industry, as told through the personal lens of one family.”
― Ron Howard, The Boys: A Memoir of Hollywood and Family