A Quote by Curt Schilling
I wanted to create jobs and create something that had a very longstanding world-changing effect. We were close. We were close to getting there. It just fell apart.
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I just had this notion that I wanted to do the most extreme thing I could and I also very consciously wanted to do something that was very different from Mars because we were all very close.
There were times when close people... Some of my closest friends have left me. People hurt me, so everything fell apart. I didn't feel like I had anyone on my side or anyone who could understand me. So that's why I completely fell apart.
I just close my eyes and act like I'm a 3-year-old. I try to get as close to a childlike level as possible because we were all artists back then. So you just close your eyes and think back to when you were as young as you can remember and had the least barriers to your creativity.
There was a period where our child's birth was getting really close, and we still had nothing. We were dangerously close to calling him Untitled Baby Project.
Nanda and I were very different individuals, quite the study in contrasts. But we were very close friends. Or maybe we were close friends because we were so different.
When I create characters, I create a world to inhabit and they begin to feel very real for me. I don't belong in a psych ward, I don't think, but they become very real, like my own family, and then I have to say goodbye, close the door, and work on other things.
Tony Benn and I were very close, very close friends for 30, 40 years. We talked to each other a great deal, and we were great friends. And I was with him shortly before he died, talking about prospects of the world and prospects for peace. And I'm very sad that he's gone.
I have a very close friend who is a brilliant clown, and I always wanted to do a show with him. So I did one year at La MaMa Theatre. I had not done stilts before that show, and I had about two weeks to learn how to do that, and they were just made with off-off Broadway money. The ones that I had in Rogue One were made by [Industrial Light & Magic]. So they were really easy. They were made with actual prosthetic feet on the bottom. They were athletic, in a way. I could run in them. There was a bounce to them that I could use.
I wouldn't say the anthropologists were making art, but they were definitely justifying their practices with very personal reasoning, passion, and they were also experimenting with form. There was a sense of trying to be as sincere as possible, whether you were investigating something far away from you or very close.
What he wanted was not just to hear about Hailsham, but to remember Hailsham, just like it had been his own childhood. He knew he was close to completing and so that's what he was doing: getting me to describe things to him, so they'd really sink in, so that maybe during those sleepless nights, with the drugs and the paint and the exhaustion, the line would blur between what were my memories and what were his.
You were standin' way too close to see it fall apart. And there were things you couldn't hear, 'cause you were listening with your heart.
It was very important to me to create something that would create a legacy. I wanted to do something that had the ability to earn billions of dollars - like really had the ability to do that.
My parents were very, very close; they pretty much grew up together. They were born in 1912. They were each other's only boyfriend and girlfriend. They were - to use a contemporary term I hate - co-dependent, and they had me very late. So they had their way of doing things, and they reinforced each other.
The essence of building your own brand. People having heard of you - and having a positive impression - before you've even met them. If you can create that effect, doors open for you. A close second, if that's not possible, is people getting a good impression of o very quickly when they Google you
You're afraid to be close to women. Because it's not masculine to be close to women. The last time you were close to a woman, you were a child.
I was so in love with books from as early as I remember that it seemed a natural step to want to create them. And so I just wanted to be a writer from a very young age. And I think that the lies were just a natural side effect of me wanting to tell stories and write them down.
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