A Quote by Jeremy Irons
'Lolita' was a great wound in the side for me. I stuck my neck out maybe further than I should have and castigated the studio for not getting behind it.
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The biggest crime in Nabokov's 'Lolita' is imposing your own dream upon someone else's reality. Humbert Humbert is blind. He doesn't see Lolita's reality. He doesn't see that Lolita should leave. He only sees Lolita as an extension of his own obsession. This is what a totalitarian state does.
I've never been in the position where that conversation is a serious conversation before the movie even comes out. On one side of it, that's so great because you've got such great potential. The other side of that is that there's a level of pressure. Now, that clearly means that there's an expectation level, from the studio side, potentially from the audience's side, and from our side.
I worked behind the record counter at Woolworths when I was 16. It was when Oasis' 'Definitely Maybe' came out and The Verve were getting big. I'd have probably worked my way up to store manager if I'd have stuck around.
When I'm out the street, I get people whispering behind me, 'Isn't that Jennifer Lawrence?' I should start doing autographs - although if you stood us side by side, you wouldn't make that mistake.
In my opinion, I would still like to go into a studio - because I love the environment of being in a studio - and record a great album beginning to end, but then maybe not release it as an album. Maybe put singles out there, put songs out there - either give some away or release some the traditional way.
What helped me a lot is the fact that I have a very short neck. If I had a neck like a stack of dimes, you can bet I couldn't take a good shot. But the fact that I had a short neck and worked on it a lot (as opposed to most fighters who don't work on their neck muscles) definitely helped. I would stand on my head against a wall and move my head back and forth, side to side, for half an hour or so while talking on the phone.
I suppose in some ways that's why my collaborations worked out, because I would go in the studio with such enthusiasm and it would never be a chore for me. I was never itching for the process to be done so we could get out live. It's a different matter for me now. Now I've noticed that I actually have one eye or one ear on how I'm going to do it on stage. And maybe that's because I'm the frontman in the group; I do believe that any good frontman should be impatient in the studio to get out.
George Dunne stuck his neck out for me in the '70s, when it wasn't a very popular thing to do.
My parents always wanted the very best for me and pushed me further and further, so that stuck with me.
Grudges are bridges with faulty spans. Falling off one is a lot more rewarding than getting stuck on the other side.
I'm the type of person that doesn't like to wait for people to do things for me, and I never want to feel stuck. Why sit around and be like, 'I wish my label would book me some studio time,' if I can just buy my own studio equipment and figure out how to run Pro Tools and record it myself?
I love the Bach Prelude No. 2 in C Minor and had that stuck in my head: why don't I put this on Imaginaryland? So I brought it to my friend Tom Grimley who recorded That Dog's first record. I played him all my a cappella pieces, and he said, "P, you should really make a record, it would be great! You can record it at my studio and I'll put it out!"
I definitely like taking the dark horse approach and picking people you should not be getting behind, and you figure out a way to get behind them.
Sometimes things work out on the golf course and sometimes they don't. Life will go on. You try to understand what happens, but maybe today I don't want to know. I just screwed up so maybe I should just put it behind me.
When any young director gets hired by a studio to do a $125 million film based on a preexisting piece of intellectual property, they're climbing into the meat grinder. And what you're coming out with on the other side is a generic, heavily studio-controlled pile of garbage that ends up on the side of Burger King wrappers.
I'm a creative person who had a lot of dark time in my life. I can still get to it: I can still go to a relationship or a time when things weren't great. But it's getting further and further from me.
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