A Quote by Geoffrey Rush
I would always slip away to the cinema. I always found something absolutely extraordinary about the fact that these actors were always kind of kicking hard at some new dimension they were doing on film.
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While we were filming 'Munna Bhai MBBS,' we didn't think we were doing some kind of mainstream cinema. I only knew that I was doing a different kind of cinema.
If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.
It wasn't until 2013 that I even started working in film. It was always something I wanted to do from six, but I didn't know how to get there other than working really hard and going to New York and doing theater like I saw on the bios of some of my favorite actors.
It always sounds kind of trivial, but when I was a kid I was always so impressed by how serious the comic books were. I always liked how they were half way between literature and the cinema. I liked the visuals and I liked the simplicity of a certain type of moral dilemma.
Your first film is always your best film, in a way. There's something about your first film that you never ever get back to, but you should always try. It's that slight sense of not knowing what you're doing, because the technical skills you learn - especially if you have a film that works, that has some kind of success - are beguiling. The temptation is to use them again, and they're not necessarily good storytelling techniques.
I always say that comedians and actors were all kind of shy when they were young. I was very, believe it or not, kind of embarrassed as a child. But my mother was a very strong lady and she was the one that kept it going when I thought it would be over for me as a performer. She was always my inspiration and she was a big influence on me.
I think that's always been part of the thinking behind the script, that - and I really tried really hard to impress that upon the staff of the show, the animation staff - to try to get them to understand that we would only be able to get away with what we were writing if the visuals were appealing enough that it was like a balance, and even people who didn't like what they were hearing would still not want to turn away because what they were seeing was so nice. So that was kind of my hunch, and I think it worked.
When we were writing songs for the Eagles, Don Henley would be involved in some new love relationship, and he was always excited about them. But we were all waiting for the day that they would break up.
I wanted to be an actor ever since I was five. My grandparents - my mom's parents in New York - were stage actors. I think indirectly I wanted to do it because of them. My grandfather would tell me stories about Tennessee Williams and actors he worked with in New York. He had such a respect for acting and such a love for storytelling about that world. I grew up hearing him tell tales of it.They were never encouraging me or discouraging me to take part. They were always feeding me with theater.
When I finished my college education my agent said to me …'The key to beauty is to be always educating yourself, always learning something new, always doing something new and to have something to talk about.' And I never forgot that, and I think that's how one ages beautifully.
We were always just a hardcore band that came out and said what we believed in, but we also talked about the streets and the stuff that we were into and the struggles and everything we were going through. Once people found out we were Christian, it was always, 'Is that Christian music?'
I always followed Everton. If the team were playing on television, I would watch the game. If not, then I would look to check the results. I always wanted to see how they were doing.
I guess I always had made some assumptions about what it would be like to work in a tech company, and some were right, and some were wrong. I had a lot of, looking back on it, now naive ideas about how companies build their brands, and a lot of those notions I ended up realizing were kind of wrong.
It's a known fact, that in life, you can't have everyhing. In my heart, I knew that I loved them both as much as it is possible to love two people at the same time. Conrad and I were linked, we would always be linked. That wasn't something I could do away with. And I know that now--that love isn't something you can erase--no matter how hard you try.
Still, there was also was something reassuring about working for Commercial, almost hopeful. Like things that were lost could be found again. As we drove away, I always tried to imagine what it would be like to open your door to find something you had given up on.
It's so hard to do anything that doesn't owe some kind of debt to what Stanley Kubrick did with music in movies. Inevitably, you're going to end up doing something that he's probably already done before. It always seem like we're falling behind whatever he came up with. "Singin' in the Rain" (1952) in "A Clockwork Orange" (1971) - that was the first time I became so aware of music in movies. So no matter how hard you try to do something new, you're always following behind.
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