A Quote by Geoffrey Rush
It's their story, and I got to be the guy in the back while they were in the foreground.
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You got to go back and look at it, what happened when Mike Singletary retired? What happened to the Bears for a while? They were trying to find that next guy. That was the hard thing was, they were they were trying to find that next guy.
You see a guy with one leg, he's got a story. "Land mine '69." You see a guy with one arm, he's got a story, too. "Snow blower, bottle of whiskey." You see a guy with one tooth, what would the story be? "Well, uh, I like a lot of taffy."
In a long story like 'Weathercraft,' it becomes kind of convoluted. It can become perhaps difficult to remember what led up to whatever point you're at. I worried a little bit about people being able to keep the shape of the story in their heads while they were reading it, and not wonder how they got wherever they were.
Start with the foreground. Compositions fail when the foreground is treated as an afterthought.
Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.
Maybe instead of strings it's stories things are made of, an infinite number of tiny vibrating stories; once upon a time they all were part of one big giant superstory, except it got broken up into a jillion different pieces, that's why no story on its own makes any sense, and so what you have to do in a life is try and weave it back together, my story into your story, our stories into all the other people's we know, until you've got something that to God or whoever might look like a letter, or even a whole word.
It's much nicer to be known as Mr. Nice Guy than Mr. Nasty Guy. But you've got to have lines - and when you hit the line, that's the end of the story, nice guy or not.
If character is the foreground of fiction, setting is the background, and as in a painting's composition, the foreground may be in harmony or in conflict with the background.
Mixed martial arts, UFC, or what have you, I don't think it has anything to do with rankings. It doesn't have to do with 'this guy beat this guy so he deserves a title shot.' It might be like that every once in a while, but this is entertainment and the two biggest names - the best story.
I got to spend a week with Lenny Kravitz while we were filming his arc, which was very exciting. This guy is so cool and amazing that beforehand I felt so uncool and nervous.
People were talking while I was playing, so I got up and left the stage. I've gotten to the point where I'm not really very patient with patrons rapping during the show. And the people were all nice and quiet when I cam back.
Shivers up and down my spine It's a feeling so divine Let me go back for a while Got to go back for a while To that magic time.
I hope the story of 2011 is that America gets its mojo back. You've got to remember that America has the best universities; it's got some of the best businesses. It's got an unbelievable work ethic, rule of law. The story of 2011 will be America blossoming again.
A while ago I said that, 'You know, I like a guy - he doesn't have to be all rich and famous - he can be normal.' And I remember I was walking in the mall, and this guy was like, 'Tyra, I'm normal. I live with my mama. I ain't got a car and I ain't got a job! I'm real normal.' And I'm like, 'That's not normal - that's a loser!'
When I was a kid, there were really only two possible futures in the foreground, which were Orwell's '1984' and Huxley's 'Brave New World'.
Vietnam affected everything in life while it went on. My time in the service made it clear to me that what we were being told in our newspapers and newscasts, back in the States, wasn't half the story of what was really going on.
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