Sometimes you are lucky enough to get offered things, and there is no rhyme or reason. I am very lucky because I come from England, and you have a whole range of things offered to you, from television plays and shows and theatre, so much more to explore, so it's never really money.
There seems to be no rhyme or reason for Aleister Black and Bobby Lashley to collide, because the world teaches us that sometimes there is no reason or rhyme for conflict.
Rhyme to kill, rhyme to murder, rhyme to stomp,
Rhyme to ill, rhyme to romp,
Rhyme to smack, rhyme to shock, rhyme to roll,
Rhyme to destroy anything, toy boy.
On the microphone:
I'm Poppa Large, big shot on the East Coast.
Sometimes you're traveling a highway, the only road you've ever known and wham! A semi comes from nowhere and rolls right over you. Sometimes you dont wake up. But if you happen to you know things will never be the same. Sometimes that's not so bad. Sometimes lives instersect, no rhyme, no reason, except, perhaps, for a passing semi.
I'm lucky enough to get really interesting and diverse roles offered to me, and I just hope that that continues. I just want to keep expanding as an artist and really try new things.
For me, the natural world is always telling big stories about humongous scales of time. And I often feel simultaneously terrified and humbled by those scales and in awe, and delighted that I get to be here; that I'm lucky enough, that we are lucky enough to get experience these things for the tiny finger snap of time that we get to be on Earth.
I've been lucky enough to do theatre, film, and television for a career. Unless I get offered a job as an astronaut, I won't stray too far from it.
I have been lucky because sometimes things go really pear-shaped with a second or a third part, but I have been lucky enough to be in good sequels.
Sometimes I rhyme slow sometimes I rhyme quick, I was on 125 and St.Nick
I have a stack of scripts that I've read - I'm in the lucky position where I get offered things - but I haven't wanted to direct many of them.
You know, the music business is like the Lotto. Just put your numbers down and sometimes they hit, and sometimes they don't. There's just no rhyme or reason.
My favorite rhymes are sort of half-rhymes where you might just get the vowel sound the same, but it's not really a true rhyme. That gives you far more flexibility to capture the feeling you're trying to express. But sometimes it's best not to have any rhyme.
I'm in a fortunate position that sometimes you just get offered roles - they're not necessarily the roles you take, but to get offered a film is amazing. I think the work you've done before that is why you get it.
This is what rhyme does. In a couplet, the first rhyme is like a question to which the second rhyme is an answer. The first rhyme leaves something in the air, some unanswered business. In most quatrains, space is created between the rhyme that poses the question and the rhyme that gives the answer - it is like a pleasure deferred.
I don't get any parts I don't get offered. There are lots of great things out there I would like to do that I don't get offered.
The audition process is always grueling. You always hope to just get offered things, and sometimes it happens and sometimes it doesn't.