My mom would always play me a lot of late-'50s, late-'60s rock.
Well, I think one of the reasons Chicago became so popular as a filmmaker location is because New York had been used so many times that Chicago, I think, was rediscovered maybe in the late '60s, early '70s for a long time as a new location.
The whole trip that happened in the late 60s and 70s was kind of a throwback to a lot of folk styles. I got into it as well 'cause I started with the folk styles.
Those late '60s early '70s bands would take it really far out and get super-weird.
Photorealism was this fantastic movement in like the late '60s and '70s, because photography finally became something that everyone could produce. Photorealism was and should've been a very short element. But the thing is, photography is so satisfying. Certainly when it's well done.
Experimental film by the '70s had become much more mainstream after 'Bonnie and Clyde' and stuff in the late '60s, when you were seeing bigger movies where people were exploring the medium a lot more.
I thought it was quintessentially American - very hip, very late-'60s. I was absolutely stunned when a German production company asked me if I could do a 'Sesame Street' in Germany. It was absolutely the happiest surprise.
A lot of the critique of our growing mechanization was actually at its strongest, and arguably at its most perceptive, during the late '60s.
My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
And Barry Levinson is insanely funny. I don't know if you know this, not everyone does, but he and Craig T. Nelson were a comedy team back in the coffeehouse days of the late '60s.
A.J.[Muste] died in the late '60s, I think. He was 81, something like that.
