A Quote by Daniel Radcliffe
It's very rare that I get stopped or get asked for an autograph or anything - none of which I mind - but people don't really care that much.
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What Beats brings to Apple are guys with very rare skills. People like this aren't born every day. They're very rare. They really get music deeply.
New York was a fantastic place to disappear because no one cares who you are. No one bothers you. In my ten years living there I was never once asked for an autograph or stopped on the street. It was an absolute joy. I gave myself time and space to get to know myself more.
People say that I must get bothered when someone stops me for an autograph or a photo. I'll get bothered when no one asks me. Being asked means people haven't forgotten the time I played.
I had taken some of my solo music into the record label. They didn't really care for the direction I was moving in and I found it really disheartening. They wanted a pop hit, which I understand in terms of making money. I get that. But what they were going to ask of me was something I wasn't prepared to deliver and I felt kind of trapped. I just stopped writing. I just stopped. It was stifling.
I stopped getting nervous a long time ago, so any time I do get nervous, which is rare - about work, anyway - I always take that as a really good sign.
There's the conventional wisdom, of which I have none, where you get a record deal, you get a publicist, you get a campaign, and you do the tour, but none of that adds up to things like nuance and subtlety and dynamic.
When I was growing up, my favorite player was Reggie Jackson - and I never got the opportunity to get an autograph from Reggie. I was so frustrated. I mean, he was my idol. And I couldn't get no autograph. I would go through punishment waiting on him (after games) because he was always the last guy to come out. And I would go back home with no autograph.
It's strange, somebody asked for my autograph the other day. Because I finished school and I'm not really doing anything at the moment, I was just kind of aimlessly wandering around London and these two guys who were about 30 came up and asked for my autograph. I was really quite proud at the time, and they wanted to take photos and stuff. And then they were sort of wandering around and I was kind of wandering around and I bumped into them about three times, and every single time their respect for me kept growing and growing and growing.
If people really want to sit down and visit and talk about things like health care, which is a very, very important issue in Montana, I think oftentimes you want to get to the same goal. And that is affordable health care costs.
The common misconception is that we create films for ourselves. And I really don't do it for myself. I get stopped in the street by people saying, "Do you mind if I say this about your work?" Do I mind? I'm delighted. I do it for you. It's not for me. It's my living, yes, sure.
Fortunately, I'm able to make a living from comics, so I'm privileged enough to be quite choosy, though most cartoonists can't afford to be. It's really an uncomfortable situation, since I'm not an illustrator, though I do get calls from morally indefensible businesses offering me money to decorate their ambitions. It's extremely rare, almost unheard of, in fact, that I am asked to do a comic strip. Do writers get calls to pen Toyota advertisements? Do composers get asked to write chamber pieces about exercise machines?
What I liked about 'Get Out,' which is so rare, is that there's just as much focus on getting to know and care about these characters on top of the film being clever and scary.
You wouldn't be allowed to get on a particular bus, but you'd be asked to sign your autograph.
I don't do much recording anymore, but before I really stopped, I was glad to get five, five cent a record. That's why when I see people today and they complain about what they get, and I picked cotton for $2.50 a day.
When I asked my accountant if anything could get me out of the mess I am in now, he thought for a long time, and I didn't care much for his answer. 'Yes,' he said. 'Death would help.'
I'd say probably Dale Earnhardt was the biggest autograph I got when I was a kid, mainly because it was so hard to get it. His lines were way longer and it nearly took an act of God to get his autograph.
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