A Quote by Brian Regan
So when you do board, the first class people, they're sitting there. A lot of them are working as your boarding. They have computers out and calculators. They're looking up at you like, Hey, we're making money right now!
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I have always been very entrepreneurial minded. Oftentimes, while I was sitting in class listening to my professor ramble on, I would think to myself: I could be out there making money right now.
When I got out of coaching, I had taught a class at the University of California, an extension class on football for fans. I was looking for tools. I was showing them films. I was going to write a textbook. Trip Hawkins came to me about making it a game for computers.
We used to say I don't care if I never have any money As long as I have my sweet honey and a shack in the woodland Now we say I don't care if I don't have money, but it's not true We can't live without money, no, because we don't want to We want one of those and two of those, and oh that one looks neat, wrap it up Put it on my MasterCard. Put it on my Visa And I sing it now, hey hey, hey hey, who woulda thunk it Hey hey, hey hey, who woulda thunk it.
A lot of people, most people who are working, they do it for money. And I'm not saying there's anything wrong with that. It so happens that I made a lot of money already, so I don't have to worry that much about it. I wouldn't fault anybody for doing it for the money, but it doesn't interest me right now.
There are two kinds of second class men in business. There is the man who puts money first and service second. There is the man who puts service first and money second, who never has any money. The first class man in business is the man who is made up out of rolling the other two kinds into one man and working them together.
If you come from a working-class background, you can't afford to write full time, because you're just not being paid. Basically, all my arguments come down to Marxist doctrine: The world is shaped by money, so the only voices you'll hear are the ones with money behind them. But thankfully, culture and cool are some things that circumvent money, because if you're cool, people will want to give you money - suddenly you shape the market and people start coming to you. Which is why culture has always been a traditional way out for working-class people.
The guys that are out there now like Calvin Johnson and Larry Fitzgerald they're making $16 million, $15 million a year, and I'm not looking for anything like that. A lot of that money goes to the quarterback position and rightfully so.
I always considered myself working class, because I was brought up on a council estate. I still do, really. I mean, I might have a bit more money now than I did then, but it's in your head, class, I think. It's how you feel in there.
I never have issues in handling the fame. I was in a boarding school, as I am from a middle-class family. We didn't have a lot of money, so we all learned to respect money and understood its real value.
There came a point when I was thinking, 'I'm now 26, 27, working on music every day, but I'm not making, like, a lot of money. What's happening? I guess I'll just start making dog clothes.'
I think my first story sold for $550. This was in 1954, and it seemed like quite a lot of money, and I said to myself, 'Hey, I'm a professional writer now.'
That's what YouTube's become, it's become like a lot of vloggers capitalizing on this sort of like "My fans, I love my fans, hey guys." I've grown up and kind of been disgusted by that. I think it's using people, I think it's like encouraging something that's unhealthy, telling people you love them. "I love you." Oh really, you love your fans? You love the people that give you money and attention? Of course you do, that's not selfless that you love your fans, that's ridiculous.
I have a couple ideas that I'm banging on for a film. It's strange, you make a movie and, all of a sudden, your agents are calling you and saying, "Hey, I know these guys with some money who are looking to finance something." You're like, "Oh, god, now I've gotta come up with something really amazing."
"Ladies and Gentlemen, we're about to begin boarding. If we could ask for your cooperation, please stay seated until you row has been called." ... That's what they say - but somehow, by the time it comes out of the speaker, it sounds like, "Everybody up and rush the door! Everybody up and try to squeeze your big fat butts in the small gate door area! Immediately! ... Do whatever you have to do to get on board. This is the last helicopter out of Vietnam!"
I didn't play or like a lot of board games as a child. I liked playing with my G.I. Joes and making up adventures for them.
My parents weren't in the arts, but we grew up in Balmain, which at that time was an artistic, bohemian suburb of Sydney. It's a lot more gentrified now. It was very working class, pubs on every corner because it's right by the water so a lot of the guys on the ships and the boats used to go and drink there. It's very posh now.
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