"And I loved Frank Lloyd Wright. I think he was the greatest man I have ever met in my life"
About this Quote
Quinn’s praise lands with the blunt force of an actor used to letting a single line carry a scene. “And I loved” is doing more than reporting admiration; it’s staking out allegiance. Not “I respected” or “I learned from,” but love - intimate, risky, unguarded. Coming from a man whose public currency was charisma and toughness, that word reads as a deliberate softening, a confession that art can rearrange your loyalties.
Frank Lloyd Wright, in Quinn’s lifetime, wasn’t just an architect; he was a national character: visionary, egomaniac, American prophet with a draft table. Calling him “the greatest man I have ever met” folds personal encounter into myth-making. The phrasing matters. Quinn doesn’t say Wright designed the greatest buildings; he says Wright was the greatest man. That shifts the emphasis from product to presence, from oeuvre to aura. It’s celebrity language applied to a creator who also behaved like a celebrity - a neat cultural loop where Hollywood recognizes its own kind in another discipline.
The subtext is aspirational and a little defensive: Quinn, often cast as the “ethnic other,” aligning himself with a figure framed as quintessentially American genius is a way of claiming proximity to the country’s highest creative story. It’s also a professional tell. Actors are trained to worship authors of worlds. Wright built worlds you could walk into. Quinn’s line turns an architectural meeting into a conversion narrative: I met him, and my definition of greatness snapped into place.
Frank Lloyd Wright, in Quinn’s lifetime, wasn’t just an architect; he was a national character: visionary, egomaniac, American prophet with a draft table. Calling him “the greatest man I have ever met” folds personal encounter into myth-making. The phrasing matters. Quinn doesn’t say Wright designed the greatest buildings; he says Wright was the greatest man. That shifts the emphasis from product to presence, from oeuvre to aura. It’s celebrity language applied to a creator who also behaved like a celebrity - a neat cultural loop where Hollywood recognizes its own kind in another discipline.
The subtext is aspirational and a little defensive: Quinn, often cast as the “ethnic other,” aligning himself with a figure framed as quintessentially American genius is a way of claiming proximity to the country’s highest creative story. It’s also a professional tell. Actors are trained to worship authors of worlds. Wright built worlds you could walk into. Quinn’s line turns an architectural meeting into a conversion narrative: I met him, and my definition of greatness snapped into place.
Quote Details
| Topic | Respect |
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