A Quote by George Chakiris
The first thing that was intimidating was when I started rehearsing to play Riff in the London company. That first day of rehearsal, I thought, 'Oh my God, I'm never going to learn this. I'm too slow.'
Related Quotes
I first started making films - this is my first feature, but I was making shorts - I was actually freelancing as a day job at The New York Times as an art director. I actually worked with Bill Cunningham and really soon after I met him, I thought, "Oh my God, he's a perfect subject for a documentary."
I had two starts, really. The first was going to the Italia Conti stage school, aged 15. I'd gone to sing, but one day I found myself doing an improvisation and thought, 'Oh God, I quite like this acting thing.' The second start was meeting Mike Leigh when I was 22. He showed me I could play people that weren't like me.
When I started my company in the U.S. I was always told by my mentors, 'If you want to start a tech company, you need a technical co-founder,' because outsourcing just doesn't work. It is too slow, it is too expensive, and the product is going to change a lot.
I don't want you to play me a riff that's going to impress Joe Satriani; give me a riff that makes a kid want to go out and buy a guitar and learn to play.
My first experience of that was with my first movie which I did in India. And it was so different from other people. I find that "Oh my God." Every time the music is slow I feel that people are going to get up and go out. You get this nervousness. But, to my surprise, people starting singing the song even before it came in. They started singing along a week later, after release, which was very cool.
The first time I ever thought about doing a film seriously, I was in London. I was about 17 years old. I was just standing in the street, a bit dazzled by an Antonioni bus wipe, which by the way are inherent in London, and I imagined a film set in London starting out with the riff from The Yardbird's "Heart Full of Soul", and now, how ever many years later, I've done it.
I've never thought too much of 'Rolling Stone.' The first thing I'd do is look at about 50 or 60 of the drummers they have ahead of me and go, 'Oh yeah, right!'
My first instrument was bass, and the first thing that I remember learning to play that was better than a few notes was Fleetwood Mac's 'The Chain.' If you're the guy who penned that bass riff, then you should probably be in some sort of fantasy band.
I started working at age thirteen. I'm a product of public schools, I'm a product of a public university. I started my first company when I was 21. I've subsequently never worked for anybody else. I started that first business when I was still in college.
[My aunt] took me to my first play, too, which was dinner theater. I don't know if they have that in England, but you eat a dinner while you watch a play. And she ordered a glass of wine. I was like, "Oh my God. This is, like, the most sophisticated thing I have ever done."
When we first started playing we did a lot of rehearsing. We used to write out everything. In fact, that's the way everybody rehearses: we play the tunes and improvise.
My favorite experience, in general, probably was the 'Little Shop' experience, which probably was terrifying, frustrating, and exhilarating and amazing, but because it was the first, that was the one where I watched the show just launch itself for the first time and thought, 'Oh my God, I'm going to have a career.'
I started my first company when I was in my college dorm as a senior with two of my really good friends. We started a company that became SparkNotes.com. You know CliffsNotes? SparkNotes is a modern-day version of that.
I always remember when I first started out and first became a little bit famous, I went to a celebrity party. For me it was really intimidating.
He never hurries. He never shows his cards. He always hangs up first....Like when we first started talking on the phone, he would always be the one who got off first. When we kissed, he always pulled away first. He always kept me just on the edge of crazy. Feeling like I wanted him too much, which just made me want him more....[It was] excruciating and wonderful. It feels good to want something that bad. I thought about him the way you think about dinner when you haven't eaten for a day and a half. Like you'd sell your soul for it.
All of a sudden I was Joan [Mad Man] and they're going, "Oh, so she plays a badass in this." And I'm like, "Oh my god, I get to play badasses." Firefly was a little bit of that, but she started out as a mouse and then she turned into a dragon. But I never really had that opportunity. So all of a sudden people were like, "Oh, do you feel like you're being typecast?" I would say, "No, this is just opening the doors." No one thought I could do it and someone finally trusted me to do it.
Related Authors
A. J. Pritchard Quotes
British
Dancer
Bez Quotes
English
Dancer
Cheryl Burke Quotes
American
Dancer
Craig Revel Horwood Quotes
Australian
Dancer
Darcey Bussell Quotes
English
Dancer
Martha Graham Quotes
American
Dancer
Mary Helen Bowers Quotes
American
Dancer
Mikhail Baryshnikov Quotes
American
Dancer
Misty Copeland Quotes
American
Dancer
Rakhi Sawant Quotes
Indian
Dancer
Savion Glover Quotes
American
Dancer
Shakti Mohan Quotes
Indian
Dancer
Shirley Ballas Quotes
English
Dancer
Sylvie Guillem Quotes
French
Dancer
Twyla Tharp Quotes
American
Dancer
Valentin Chmerkovskiy Quotes
Ukrainian
Dancer