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Frank Johnson
Presidential Medal of Freedom
Frank Johnson: I don't consider having, quote, "stuck my neck out," end quote. I value the decisions that I've made and the effect of those decisions. I did it not for my benefit, but in the first place, I did it to decide the issues that were presented to me in legal cases that came up routinely through the system. My oath as a United States judge required that I decide cases like I think the law requires it to be decided. So, technically you had no option if you are going to be a good judge. You do what you agreed to do.
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Frank Johnson
Presidential Medal of Freedom
Frank Johnson: The basic concept that a good judge has to have is to do what's right, regardless of who the litigants are, regardless of how technical, or regardless of how emotional the issues that are presented are. If you are not willing to do what's right, then you need to get you another job. So I never did think that I was entitled to any great credit for doing it, because that was my obligation. That's what I signed on to do. Some judges didn't do that, but that's their problem.
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Philip Johnson
Dean of American Architects
Enfant terrible. I'm not the greatest influence at all, but I am nasty. I have a very bad reputation for always saying tactless remarks that are much better not being said. I really don't understand that. To me, I just tell the whole truth, but perhaps that isn't the right thing to do at that moment. But, I'm still here. If you can prove to me that that's hurt my career terribly, then I'd take it more seriously. But in spite of the horrible mistakes I've made in my life, well, I suppose some of them were inevitable, but you didn't have to be such a damn fool, Johnson. Still, I'm here. I enjoy being an enfant terrible, although I'm pretty old to be an enfant.
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Chuck Jones
Animation Pioneer
Chuck Jones: Yeah, or that you might make a picture and you've lost the whole skill. Arthur Rubinstein said that when he walked out on a stage and saw 2,000 people who had paid money to see him perform, he said, "I could not give them less than the best that I have." And that's what I feel. You have no right to diminish an audience's expectations. You have to give them everything that you have. And with children, with anything that's supposedly being done for children, the requirement becomes much more stringent. You've got to do the best you can. You have no right to pull back. You have no right to "write for children." You do the best thing that you can do. And the audiences -- for children -- all the more so, because you're building a child's expectation of what is good and what is bad. And all this stuff -- the word "kidvid," which is used so freely, is one of the ugliest words in the English language. It means you're writing down to children. How are you going to build children up by writing down to them?
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Chuck Jones
Animation Pioneer
There is a one proof always, as to what makes a great children's book, or a great children's film, and that is this: If it can be read or viewed with pleasure by adults, then it has the chance to be a great children's film, or a great children's book. If it doesn't, it has no chance. Every film should be pursued in that way. I've always felt that the very best I can do is the very least I can do. I don't think about the audience, I think about me. And I think about how grateful I am that I blundered into that group of whimsical, wild, otterish type people that are in there, all of them nutty and all of them intense. Because don't forget, we talked a lot about how free times were then, but every one of us had to turn out 10 pictures a year, in order to get the 30 that Warner Brothers needed. And so, it was frivolous, to be sure, plenty of frivolity and plenty of laughter, but for every bit of laughter there has to be 90 percent of work.
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