A Quote by DJ Shadow

When I first pursued this with Universal, they had no idea what to do. But now that we've gone through the whole process and I've signed this 60-page document that says what we can and can't do, I suppose it will be a little bit easier for the next person.
The next week she withheld my paycheck until I signed a document (drafted by David) in which I promised not to marry Connor. Ever. I signed the document, took the check, and had David draft another document forbidding all Spellmans to practice any form of blackmail. David tried to explain to me that a contract in which you promise not to break the law is ultimately redundant, but I didn't care.
I remember when I signed with Kedar Entertainment through Universal Records. It was my first record deal and it's the one I still have now. At that time, there had been a couple of opportunities I was almost given, but at the last minute the giver came back and told me it couldn't happen.
Life is getting through the moment. The philosopher William James says to cultivate the cheerful attitude. Now nobody had more trouble than he did -- except me. I had more trouble in my life than anybody. But your first big trouble can be a bonanza if you live through it. Get through the first trouble, you'll probably make it through the next one.
Edwards recalled that he once planned to coach until he was 60 as he signed an extension to his contract. I was about 62 before I ever remembered that's what I had set up. . . . Now I'm already making plans for next year and recruiting. That's the reason for this. I just feel good right now.
I think as an actress, I prefer having a character on the page. It allows you to be more invested in actually creating a whole person. It's easier when you're not trying to come up with your next line on the spot.
With the way my career has gone, I've had ups and downs, and I'm thankful for going through what I've gone through because now I'm a stronger person.
I had a lot of issues with the genre, and I probably even had issues with the whole idea of genre. I was coming into it with a certain degree of outsider attitude, and I didn't have a long-term plan. But I think the way it's worked out, it's sort of warped into what I suppose you could say is my own genre. If people like my books, they have some idea of what the next one will be like.
Bill Phillips was this nervous, chain-smoking student. He had signed up to be an engineer, he had gone away to fight in the Second World War, he had come back. He had switched to sociology because he wanted to understand how people could do these terrible things to each other. And he did a little bit of economics on the side.
I had highfalutin ideas about being a serious actress when I was 16, 17, and first signed at Universal. I was so flattered to be asked to be in the movies - the idea of being paid to act was heady stuff.
I've toyed with this idea [of Fresh Hell] for a long time. I actually wrote a feature years ago with this sort of concept in mind, and it's gone through several incarnations, and... It wasn't 'til I met Chris Ellis, who directed me in a little thing that was actually for a ride in Universal Singapore, for those of you who happen to be going to Universal Singapore.
I always had plenty of ideas. I didn’t exactly have them. They grew—little by little, a half an idea at a time. First, part of a phrase and then a person to go with it. After a person, then a little corner of a place for the person to be in.
Silence has been destroyed, but also the idea that it's important to learn how another person thinks, to enter the mind of another person. The whole idea of empathy is gone. We are now part of this giant machine where every second we have to take out a device and contribute our thoughts and opinions.
Being producer you're still going to have to sell somebody who's going to give you the money on the idea and everything like that. But it does give you a little bit more control if you're thinking in that creative process; it gives you more control to tell the story you want to tell rather than sort of just reading a script that somebody else wrote and says, "Yes, please, you can hire me for this job." So it's a little bit more hands-on, a little bit more closer to the heart.
To try to create a character without a whole lot of information can be taxing. At the same time, it's fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.
We are probably the only artists in the world who have a 2,000-page book on a work of art that doesn't exist. But in this way, these projects reveal their identity through this whole process. When I'm starting, I only have the slightest idea of how the work of art will exist.
At the time, I didn't have the insight to wonder at the transient nature of despair, but now that I'm older I've seen how little it takes to turn a person's life around for better or worse. An event will do, or an Idea. Another person. An idea of a person.
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