A Quote by Harold Pinter

My first play was 'The Room', written when I was twenty-seven. — © Harold Pinter
My first play was 'The Room', written when I was twenty-seven.
For twenty years I read a book a day, from the time I was seven until I was twenty-seven.
Twenty-seven is a great age to play. There is so much ahead of you.
I was twenty-seven when I came up with the idea for my first novel.
You can only go forward by making mistakes. I'm twenty-seven, not fifty-seven. I'm not Givenchy, I'm Alexander McQueen.
I was twenty-seven when I began to write seriously, and after two years of rejections, my first book, 'The One in the Middle is the Green Kangaroo,' was accepted for publication.
I've written virtually as long as I've acted, it wasn't a sudden transition. I acted in my first play when I was 16 and I wrote my first play when I was 17.
My first, 'Room on the Roof,' was the longest book I've written.
When you play this game twenty years, go to bat ten-thousand times, and get three-thousand hits, do you know what that means? You've gone zero for seven-thousand.
I get to play behind Al MacInnis and learn from him. I get to play with Brett Hull. There were like six or seven Hall of Famers that I would play with during my time in St. Louis. I mean, Wayne Gretzky was traded there my first year.
Low comedies are written for the drawing-room, the kitchen and the stable, and if you cut out the kitchen and the stable the drawing-room can't support the play by itself.
Our songs were not written to be listened to in headphones or on the radio. They were written to be played. All of the little infinite detail that went into the arrangements and giving ourselves lots of breathing room in terms of playing what we wanted to play and using up any ideas that we had - all of those were conceived to be performed.
I worked for twenty-some years with no capital, so I never had any liquidity. Managing my loans alone wouldn't do it, and working hard twenty-four hours a day seven days a week alone wouldn't do it. You have to be properly capitalized.
What I strive to do is make my characters seem like real people so that the reader experiences them as people - that's something I've been working on all of my life. I couldn't have written this novel at twenty or thirty, for technical reasons - I didn't have the technique then - but above all because I didn't have the life experiences I have now at sixty-seven.
I decided that I want to live the rest of my life happy with what I'm doing. So when I play tennis again, I have to play it for the right reason. I don't want to play to get my No. 1 ranking back. I don't want to play for the attention, or to earn more. I don't even want to play because the world wants to see me do it, even though it's nice to know that the world is interested. I only want to play because I love the game, which is the reason I began to play at age seven in the first place.
I'm not saying I wouldn't play a seven-string. It's just that I've never needed one. Most dudes who play seven-strings don't sound any different than someone playing a six-string that's tuned down.
She’s the kind of person who either dies tragically at twenty-seven, like Jimi Hendrix and Janis Joplin, or else grows up to win, like, the first-ever Nobel Prize for Awesome.
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