A Quote by James Bay
When I was 16, I spent a year pushing trollies around a car park, and that wasn't fun. I didn't love working in a supermarket; it wasn't for me. It is for some people, and that's totally cool.
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So for a year I spent all my time hiding from Jack Charlton in the car park practising my skills.
I was never a cool person; in fact, cool people have always made fun of me. That’s why I loved [the Robert Cormier YA novel] The Chocolate War - because the cool kids (not the establishment) were the villains. I totally identified with that.
I was working with Toby Gad, who spent a lot of time in India. There's a sitar [in "Body Shop"] and the song has a very Indian flavor to it. I liked the idea of the body of a car as a kind of sexual metaphor - What you do to a car, what you do in a car - drive. So, lots of innuendos, and lots of fun.
I love working with young people and young filmmakers, and I love working on first films. I think it's cool. It's fun. I just take it as it comes.
My sophomore year at high school, I spent $300 I had earned working at After School Matters for my first studio session. For a 16-year-old to sacrifice that much money was pivotal. It spoke a lot about how serious I was.
Some 80% of your life is spent working. You want to have fun at home; why shouldn't you have fun at work?
My love for weight training and competing just seemed like a perfect fit for strongman. So I decided to give it a try, for fun, really. It's definitely not for everybody, but if you love working out and being competitive and pushing yourself to the limit, it's great. It's fun, for sure.
When I was 16 and wanted to be an actor, people told me to go work at the supermarket.
I was finishing up at High School of Performing Arts and finally, by the end of junior year and start of senior year, made some progress as a 16 year-old classical saxophone player. But not really... not like how the legit cats do. But I love the [Jacques] Ibert, love [Alexander] Glazunov, love the [Paul] Creston.
'Jurassic Park' is probably the movie that got me wanting to make movies. It's fun, but it's not totally gruesome.
When I thought about Detroit, I would think big city, very urban - not a lot of places to walk around, not a lot of parks. I sort of pictured Manhattan almost, where, besides Central Park, it's all city and big buildings. But now that I'm here, you see people pushing strollers, people hanging out in the park.
I love to be in New York. And I think anybody who's a designer, who says they're doing an urban collection, thinks about the streets of New York. I cannot do an urban collection thinking of Bangkok. Or Mexico. To me, it's totally instant, totally connected with what attracts me these days. But this resurgence of a modern, cool way of being dressed is something that stimulates me and is totally right for me. Even now I don't like to show something that is some futuristic utopia.
Everyone from the pope to some hobo thinks, "I'm a human being. What am I doing here?" You can't get carried away with fame and fortune and all that. It's all nonsense. The whole pop-star side of it is all fun and good, but you don't get anywhere without putting in the hours. I get so fulfilled when we play a song live that we spent hours working on. It's all cool. Fame is something to have fun with, but you shouldn't take it too seriously because it is bollocks.
My mom had me at 16 and took me every place she went. I remember going on peace marches. She tried to take me to Woodstock - it was pouring rain. It was on my birthday, and I was crying so much in the car they turned the car around and dumped me at my grandmother's house... I had a little attitude.
England Under 16, Under 17, Under 18, I played centre-half. But back then, David Moyes thought it was difficult to throw a 16-year-old in there. There was a big hype around me. He wanted me to fulfil my potential; he wanted to get me in as early as possible.
When I grew up, I was living on a council estate overlooking a car park for a good 16 years of my life.
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