A Quote by Fay Wray
I went to Washington to ask for a little residual payment for the people who had written films in the early, early days, people who never got any residuals on tapes or anything at all.
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There were a lot of missteps in the early days, but because we got in early we got to make more mistakes than other people.
There's music in my films but you seldom hear it. Very early I got the idea that the important things in films were people - the actors. They are the intermediary between the director and the audience. They make direct contact. People to people communication.
I discovered very early on that if you wanted a thing, you went for it - and you got it. Most people never go anywhere, or want anything - so they never get anything.
Go find very early versions of things: the first TV pilot of a later-successful TV show; early audition tapes by famous actors; early demos by famous musicians. Focus on these early examples, not what they became over the next 20 years. Remember that what you're doing will constantly improve.
My mother had her dresses made. In those days in Chile, the early '70s, people had dressmakers make their things. With the leftovers, my sister and I always had a matching outfit. She had an outfit, we had the mini version. That was the very late '60s, early '70s way to dress your kids.
I got into theatre very early, so yes I was surrounded by gay people quite early and frequently.
It's one of the disadvantages of succeeding early. I missed simple things like having a driver's license. I think everyone has one. For so many people, a license is an obligation, but it wasn't for me. Licenses are often synonymous with autonomy, but I had my autonomy so early that I've had drivers at my disposal. It was never a priority.
The church is like any large corporation in one respect. In its early days, either the early church or the early years of Microsoft, you see all kinds of creativity, innovation, invention, people have nothing to lose, they're trying to find what works. Then you wake up and you're a vast enterprise, and it's very hard, when you have all kinds of buildings and structures and hierarchy and so on, to hang on to these very creative impulses that helped you get your great success in the first place. As a church we're going to have to figure a way out from under this.
Then, early, early, early in the morning-just as in countless Disney films-I heard a rooster crow. But guess what? They don't do it just once.
The first time I got into the studio, when I was 17, 18, I got to work with people who were some part of the Cheiron thing, who did all the early Britney Spears stuff, all the early 'NSync stuff.
In my early teens, I was a janitor. In high school, I got up early to deliver to accounts that required early service.
I remember early on, in my very, very early days, I had a makeup artist tell me that I needed to get an attitude. I had no idea what he was talking about.
During my early days as a sportsman and early career as a policeman, things were tight. In athletics I competed as an amateur and, although I might have received some expenses, very little came my way in earnings.
A lot of people forget that I played for seven years in the lower divisions; it wasn't always 'this glittering career.' I had to wait a long time and even in the early days at Man U, for three years we didn't win anything.
Before 1972, no actors got residuals. They just got paid. No residuals.
My filmmaking style of remixing came out of necessity. When I was a film theory student at UC Berkeley in the early 1990s, there were no film production facilities. The only way I learned to tell stories on film was by re-cutting and splicing together celluloid of old movies, early animated films, home films, sound slug - anything I could get my hands on.
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