A Quote by George Murray
With 'Carousel' I had an idea and it all came out quickly.
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I really kind of pride myself on figuring stuff out pretty quickly but I couldn't, couldn't. I just had no idea.
I remember stepping off and thinking that it might not be a good idea to let anyone know that I'm a homosexual, which is hilarious because I'm probably the gayest man I know. I had these huge dreams and they came to fruition so quickly.
I came back to Philips and quickly realised that the TV business had a major performance issue and some structural challenges. Rather than try to tweak it and sit things out, we said we had to go for a structural solution.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
The idea of doing a production of 'Carousel' that doesn't feel like it's stuck in the 1950s really intrigues me.
I engaged - started engaging in yoga as a physical practice, but very quickly found out there was something broader to it, and that it was actually helpful for my pain, and started to get into meditation, started to study the Upanishads and the Bhagavad Gita and a lot of the scriptures associated with yoga, the Yoga Sutras, and very quickly came to this conclusion that this had a huge impact on my ability to lead, but, more importantly, the ability to control my sympathetic nervous system, which had a direct tie to the pain in my arm.
Harry [Shearer] and I had an idea to do a movie about rock 'n' roll from the roadies' perspective, from backstage. Then Meat Loaf came out with a movie called Roadie and we thought, "Oh, we can't do that now." So we kind of discarded the idea.
When I was born, the umbilical cord came wrapped around my neck, so when I came out, I wasn't breathing. The cord had cut off my oxygen - not the entire time, just at the end, when my mom was giving birth. When I came out, I wasn't conscious, so they had to work on bringing me back. It was a crazy moment.
I first came out against Castro in June 1968, fifteen months after my book had been published, and you cannot imagine how quickly a void was created around me
I first came out against Castro in June 1968, fifteen months after my book had been published, and you cannot imagine how quickly a void was created around me.
Then I came up with this crazy idea just to walk out on the stage with no band at all and just start singing whatever came to mind. I actually fought the idea for a while because it seemed almost too radical, but it became obvious what I was supposed to be doing.
My first record came out in 1961 and then I had one come out in 1962 and then I had two that came out in 1964.
I don't feel bound by the ebbs and flows of musical trends, or what's happening with new music in general. I always had a fascination with that sound. It's a mixture of the idea that something could be going wrong along with the idea of bending constrained, Westernized music out of tune. But because I wasn't copying an idea, and it just came from somewhere inside me, it felt like a birth of something that most people didn't understand at the time.
A lot of the Indians who came to North America in the '70s, and who made very successful adjustments, always had an idea of the India that they had left, not realizing that the India that they had left has changed more profoundly than the America they came to.
I had been acting since I was seven years old, but I had a combination of things happen at about the same time. 'Austin Powers' came out on DVD, I got a series regular gig on 'Buffy' and 'Can't Hardly Wait' came out.
In the case of 'Blood Stone,' the producers, EON, Michael Wilson, Barbara Broccoli, David Wilson and Gregg Wilson, had an idea for a story and had a lot of it done. And I came in, worked with them, fleshed it out.
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