A Quote by Esai Morales

Well, actually yes, in 1988. There was a warrant for me because my assistant hadn't paid a ticket of mine. — © Esai Morales
Well, actually yes, in 1988. There was a warrant for me because my assistant hadn't paid a ticket of mine.
Initially, dancing for me was just for pocket money. The dancers are paid well and you get paid on a daily basis. Eventually when I got promoted as an assistant choreographer I was getting paid more. This was during my college days.
People always ask me if they're mine. Yes, they are... all bought and paid for.
There's always something impressive when people are giving themselves to their job absolutely. The military thing - I was conscious that their routine, their way of living is so opposite to mine. In some ways their life seemed intolerable to me. But, mine would be to them, too, because this strangely laissez-faire life of mine actually comes with its obligations as well.
I remember in a film of mine, though both my co-star and I were newcomers, he got far better paid than me. I was shocked and appalled. I actually asked him what different are you doing that you are getting better paid!
Are you mine?” Yes. “Are you mine?” Yes. “Are you mine?” No. “No?” No. I loved being yours. But now I’m mine, which is all I ever was, in the end.
Can I be blunt? Yes. Can I be diplomatic? Yes. Can I concoct a mixture of vinegar and honey when the circumstances warrant? Yes.
I once stayed at a Ritz in D.C., paid for by a client, and when I asked to change rooms because mine smelled of smoke, the hotel immediately found me a better room, then paid for my dinner and drinks and even threw in a free massage to compensate me for the very minor inconvenience.
I'm a good assistant. That's why I don't have an assistant, because I'm so on it that no one can be as on it as me. I know that.
You know the actor John Garfield? In one movie he walked up to this train station, the ticket booth, and the guy says, 'Yes, where are you going?' And he says, 'I want a ticket to nowhere.' I thought: that's it. The freedom to do that. I want a ticket to nowhere.
Then I usually leave the choice of the second assistant director and any other assistant directors to the first assistant director, who will choose because he or she is responsible for the conduct and the efficiency of the second assistant directors.
I had a certificate that said, 'Doctor of Mixology, Harvard University,' that I actually got from Harvard University. A friend of mine was a research assistant over there and it was one of those student or university perks and she brought me in on that. So I am a doctorate from Harvard and it only took me one afternoon.
Well, I think that when I perform on the road I always thank the audience for buying a ticket because it's a big deal to buy a ticket for a live entertainment, get a baby-sitter and pay for the meal, the parking, whatever.
A cousin of mine was a graphic designer, and he took me as a kid to see Flesh for Lulu and Social Distortion in 1988 in Chicago.
Doing new stuff live is tough just simply because I pay my money, I stand in my seats, and I see the guys I love. And if I paid that ticket, there's a good chance that I'm there to hear the stuff that made me fall in love with 'em - we call it the "old stuff." And if an artist comes in town and dumps his entire new album on me, as a listener in a concert venue, it happens to miss out on the old stuff that I came there for. That doesn't work too well for me as a listener. Most of the time for concerts, it's the old stuff.
I proceeded to prove everybody right as to how bad an economics student I was by failing as an assistant manager in every theatre I went to that hired me, both as an assistant manager and as an actor. I lost money and tickets, and I couldn't keep track of anything. So eventually they fired me from assistant-manager jobs, but kept me on as an actor.
There's a lot of talk about FISA applications. Many people I've seen talk about it seem not to recognize that a FISA application is actually a warrant, just like a search warrant.
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