A Quote by Jessie Mueller
I loved being in Cambridge. I think about it often. It was this great little capsule of time to me.
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When I was on Taransay, I loved being part of a community, I loved that everyone knew what I was doing, where I was going. I loved that. I liked knowing that if I wasn't back at a certain time people would start worrying a little bit about me, I loved the whole community thing, sitting for hours and chatting to people.
I wish I got a little bit more time at home. I am away a lot and being around my loved ones and friends is good for me. It grounds me. It's something I need to make more time for. I think I need a little more balance.
You’re hated by some, loved by others, but that’s what’s great about being different. If everybody loved you, that means you’re not doing the right thing most of the time.
And I think they loved me because I loved being part of their team, you know, and I quite often say to kids, that I was the worst player in the world's best football team - and that was good enough for me.
I can only speak highly of my time at Norwich. It was brilliant for me. I loved it there, and I think the fans loved me as well. We had a great relationship.
I really wanted to be a model when I was little. I loved photography, and I loved being on camera. But I was short and chubby, so I couldn't. Anyway, being an artist is way more interesting than just being a model because it's about you and what you want to be. You're not being treated like a clothes hanger.
People talk about, 'Well, why don't they bring 'Growing Pains' back?' No, it belongs in the time capsule exactly where it was. It would probably look corny and dated if they tried to redo that. But I think, for its time, it was meaningful.
The thing I think about all the time is, what if I'd taken a job at Deloitte instead? They offered me one. I just think if I'd taken literally any other job, Cambridge Analytica wouldn't exist. You have no idea how much I brood on this.
'Hollyoaks' really is such a great place to work, and there was nothing bad whatsoever about my time there. I loved my job, I loved everybody that I worked with, and I was blessed with great story lines.
A little criticism makes me angry, and a little rejection makes me depressed. A little praise raises my spirits, and a little success excites me. It takes very little to raise me up or thrust me down. Often I am like a small boat on the ocean, completely at the mercy of its waves. All the time and energy I spend in keeping some kind of balance and preventing myself from being tipped over and drowning shows my life is mostly a struggle for survival: not a holy struggle, but an anxious struggle resulting from the mistaken idea that it is the world that defines me.
I remember the first time I read Freud, I was 25 or 30, and I was expecting it to be about the Oedipus complex. But what I actually discovered confirmed my own common experience, that you also had little boys who loved their fathers and little girls who loved their mothers.
What distinguishes Cambridge from Oxford, broadly speaking, is that nobody who has been to Cambridge feels impelled to write about it.
I remember making the all-star team in Little League when I was around 11 years old. I was not a great athlete, but I loved it, so making starting second base in the all-star was great for me. I think someone must have been sick and they slotted me in.
If I wrote about "being [abstraction]" I would be ignoring existential issues (such as death, limited-time, the arbitrary nature of the universe, the mystery of consciousness) that I feel affect me most in my life and think about most of the time. Another reason is that it doesn't seem specific or accurate, to me, to write about "being [abstraction]." I think there are some other reasons.
There were lots of little boys having their bar mitzvahs all over the world, and they sent me tapes of some of them that they interviewed, probably six or seven little boys, and there was something about Mendel. I just loved his little face. I loved the energy of Mendel.
It's great to get insight into the era of 80's rock-n-roll via a treasure trove
of photographs skillfully captured in front of Mark Weiss' camera lens. This
event is the perfect time capsule for Mark's work finally being released
upon the masses in 2012.
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