A Quote by Godfrey Hounsfield
I joined the staff of EMI in Middlesex in 1951, where I worked for a while on radar and guided weapons and later ran a small design laboratory. During this time, I became particularly interested in computers, which were then in their infancy. It was interesting, pioneering work at that time: drums and tape decks had to be designed from scratch.
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... And we talk it out. Lately, I've had Roy Thomas come in, and he sits and makes notes while we discuss it. Then he types them up, which gives us a written synopsis. Originally - I have a little tape recorder - I had tried taping it, but then I found no one on staff has time to listen to the tape again later. But this way he makes notes, types it quickly, I get a carbon, the artist gets a carbon ... so we don't have to worry that we'll forget what we've said.
I kind of had a quarter-life crisis before I did 'Rent.' I had done Glinda in 'Wicked' for a while. I had worked for Cirque Du Soleil, and then I did 'Hair.' Then I had a real quiet time, not having work, and it was a time of not only self-discovery of me as a person, but also what I wanted as an artist and actor.
While I was rapping I was always involved in youth work - I ran music workshops for teenagers and young offenders all the time and also ran a charity for refugee kids for a time.
At a certain point, I got interested in set design for the theater. I was interested in architecture, but I was taking photographs at the same time, and architecture, though it had the design element, it didn't have the narrative, emotional element that I was looking to do. I ended up painting for a while. I was dancing around it, and I realized that all these different interests came together in filmmaking.
I did several interesting jobs, working in restaurants, I worked at a lab rat farm, feeding and watering all these rats. Then I got a full-time job as a technical writer for a large scientific research laboratory.
I ran my first race the end of March, 1976. And less than four months later I was Olympic champion. But I had the background. It's not like I just ran one day and all of a sudden became a champion. It was a lot of work.
Every disruptive innovation is powered by a simplifying technology, and then the technology has to get embedded in a different kind of a business model. The first two decades of digital computing were characterized by the huge mainframe computers that filled a whole room, and they had to be operated by PhD Computer Scientists. It took the engineers at IBM about four years to design these mainframe computers because there were no rules. It was an intuitive art and just by trial and error and experimentation they would evolve to a computer that worked.
When as a child I laughed and wept, time crept. When as a youth I waxed more bold, time strolled. When I became a full-grown man, time RAN. When older still I daily grew, time FLEW. Soon I shall find, in passing on, time gone. O Christ! wilt Thou have saved me then? Amen.
This was not an attack by a mentally deranged, lone-wolf gunman. This was not an 'un-Islamic' attack by a bunch of thugs - the perpetrators could be heard shouting that they were avenging the Prophet Muhammad. Nor was it spontaneous. It was planned to inflict maximum damage, during a staff meeting, with automatic weapons and a getaway plan. It was designed to sow terror, and in that it has worked.
For a while we were chasing a book by Graham Greene to do Brighton Rock as a musical. We didn't get the rights, so we decided to create something from scratch, with Jonathan. By that time we were big fans of his work.
In 1945 J.A. Ratcliffe ... suggested that I [join his group at Cavendish Laboratory, Cambridge] to start an investigation of the radio emission from the Sun, which had recently been discovered accidentally with radar equipment. ... [B]oth Ratcliffe and Sir Lawrence Bragg, then Cavendish Professor, gave enormous support and encouragement to me. Bragg's own work on X-ray crystallography involved techniques very similar to those we were developing for "aperture synthesis", and he always showed a delighted interest in the way our work progressed.
When I was in college at Carnegie Mellon, I wanted to be a chemist. So I became one. I worked in a laboratory and went to graduate school at the University of Pittsburgh. Then I taught science at a private girls' school. I had three children and waited until all three were in school before I started writing.
Later in that administration, I was asked to take a job which I had to turn down as Assistant Secretary of State for Economic Affairs because we were just then putting together the merger of two small law firms that became this law firm. I couldn't leave them at that point.
Casting director was a part-time thing, which later became a full-time job because there was a lack of casting directors in our industry and people were looking for professionals to do it.
I begin with understanding the intentions of the story. That helps me to zero in. Then I gather research for each individual character and analyze the time period with comparisons to the figure and the facial structure. It helps to be comfortable with computers because the massive amount of research is kept electronically and shared with my staff this way. Very little is printed out. I work with an illustrator to come up with the proper silhouettes and details of the clothing from the time period to time period. And on and on.
I had a series of jobs in the small fishing village in West Wales where my family lived when I was a teenager. I worked as a fisherman in the day, and then the skipper and his wife ran a small restaurant - she'd cook the fish he caught.
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