A Quote by Gord Downie
In the past, when you were just starting out, you had a day and a half of studio time - maybe two, if your buddy's uncle lets you stay.
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Writing screenplays is not my business. I've written half a dozen, and maybe half of those were made. But it was never a satisfying experience. It was just work. You're an employee. You would be told what to do. Studio execs would cross out my dialogue and put in their dialogue.
Maybe it's because my uncle and my parents were always very involved with the civil rights movement, so I just grew up and I was raised that you have to speak out and look out for your fellow man, woman, and child.
Maybe you had to leave in order to really miss a place; maybe you had to travel to figure out how beloved your starting point was.
The most calmest place I can be is the studio. And like, I stay in there 'cause I know, when I come out, it's back to reality. Man, if you're angry all day, man, stay in the studio.
I had been told by a number of people that if you get half of what you want on your first album, you're doing really well. Pretty much every single thing they had was something that I liked. There were maybe one or two songs I didn't like, and they were taken off the album quickly.
And then she thought that you went on living one day after another, and in time you were somebody else, your previous self only like a close relative, a sister or brother, with whom you shared a past. But a different person, a separate life. Certainly neither she nor Inman were the people they had been the last time they were together. And she believed maybe she liked them both better now.
When I was starting out, young actresses had the studio system to protect them. Now you have a host of sharks, from your agent to your publicist to your lawyer.
When I'm in the studio, I stay in the studio, like, sometimes 20 hours out the day.
They were two and a half decades in which Brazil had no capacity to invest in infrastructure. Just to give you an idea, in 1989, we had in Brazil about 50,000 project-engineering businesses. When I took office, there were just 8,000. Universities were no longer turning out engineers.
Maybe! Maybe! Maybe if your aunt had a beard, she'd be your uncle.
I recently had to wait two and a half hours in a doctor's office, just waiting to be seen. I literally was genuinely thinking 'Well, maybe this is a time loop.'
We had just played a sold-out show and it had been a fun night when we heard the news. It brought everything back to reality. He was a brilliant guy. He was an aerospace engineer and an entrepreneur. We were just starting to write new songs two weeks after he died. We were still grieving. So that was naturally a big subject matter for the album.
Of all the islands he'd visited, two stood out. The island of the past, he said, where the only time was past time and the inhabitants were bored and more or less happy, but where the weight of illusion was so great that the island sank a little deeper into the river every day. And the island of the future, where the only time was the future, and the inhabitants were planners and strivers, such strivers, said Ulises, that they were likely to end up devouring one another.
I didn't have a lot of men to ask questions of when I was starting out. There were two female directors people suggested I talk to when I was starting out, and they were Nancy Meyers and Kathryn Bigelow.
You talk to - I had a good fortune of getting to spend a lot of time with Uncle Miltie and guys like Buddy Hackett before they passed away.
I just want the viewer to have a very informative and entertaining listen. I want them to feel like they've pulled up a chair right next to us. I hope to bring to the telecast what I call 'buddy information' - where you hear something and maybe the next day you say to your buddy, 'Hey, I heard something about this player or this team,' and they pass it on by word of mouth.
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