A Quote by John Cusack
I feel close to Lloyd in 'Say Anything'. He was like a super-interesting version of me. Only I'm not as good as him. Whatever part of me is romantic and optimistic, I reached into that to play Lloyd.
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I wrote a tennis book about Chris Evert and her then-husband, John Lloyd. It was called 'Lloyd on Lloyd' and became a No 1 bestseller.
Lloyd George? There is no Lloyd George. There is a marvellous brain; but if you were to shut him in a room and look through the keyhole there would be nobody there.
Probably Lloyd in 'Say Anything' is the closest to me - or to who I was at the time. It was just a great love story about people in the '80s, and we all tried to make it feel as real as possible. It was such a wonderful time. We didn't leave anything in the gym; we put it all out there.
I'm doing a play at Trafalgar Studios with The Jamie Lloyd Company - 'The Maids' by Jean Genet with Uzo Aduba and Laura Charmichael, directed by Jamie Lloyd. It's one of my favourite plays by one of my favourite playwrights.
I can't presume to speak for the others, but I never felt anything negative from anyone when I was onstage with Television. When I played rhythm behind Lloyd, the only thing that concerned me was to push him as hard as I could so that he'd go beyond what he was capable of and come up with something new, and vice versa. That's the only thing that mattered.
Ethel said: "Lloyd, there's someone here you may remember-" Daisy could not restrain herself. She ran to Lloyd and threw herself into his arms. She hugged him. She looked into his green eyes, then kissed his brown cheeks and his broken nose and then his mouth. "I love you, Lloyd," she sad madly. "I love you, I love you, I love you." "I love you, too, Daisy," he said. Behind her, Daisy heard Ethel's wry voice. "You do remember, I see.
I was part of the David Lloyd Academy and when I was 16-17 years old I got to practise with Stefan Edberg and that really helped me.
One kid said to me, he said, Mr. Lloyd, we really owe you. And I explained to him, man, you owe me absolutely nothing. I said, whatever kind of career I had, it has served me well, but you do owe some people. And the people you owe are the folks who are going to come behind you. It's incumbent upon each watch — when you play your 10, 11 years and you're in your group — when you leave, I truly hope that you've done all you can possibly do to leave it a better place for the folks who come behind you.
[John Coltrane] liked my qualities as a person and that's the reason why he let me play with him. It wasn't what I was doing musically or my instrument or anything like that. He let me play whatever I wanted to play.
When I did 'Cyrano' for Roundabout, I was originally supposed to direct and play the title role, but I quickly realized that was madness, and we called in Jamie Lloyd, who directed me in Osborne's 'Inadmissible Evidence.'
In the early work of Frank Lloyd Wright - and you can also see it with Mies - they make new ground by raising the ground. Frank Lloyd Wright did it so beautifully with the Robie House. The roof becomes almost a new ground.
My father Lloyd Bridges worked on a TV show called 'Sea Hunt.' He impressed upon me as a child the importance of taking care of the ocean and working together to do our part to reduce human pollution.
John Henry Lloyd is the man I gave the credit to for polishing my skills. He taught me how to play third base and how to protect myself. John taught me more baseball than anyone else.
I'm a romantic, but I'm not a romantic in the traditional sense. I like to romanticize what happens to me. Whatever happens to me - you could quantify it as good or bad - I romanticize it. I think along the lines of 'When that thing happened, it made me who I am.' That kind of thing. It's a different way of being romantic.
One day while Lloyd George was making a political speech before a big crowd, a heckler yelled, "Wait a minute, Mr. George. Isn't it true your grandfather used to peddle tinware around here in an oxcart hauled by a donkey?" Lloyd George replied, "I digress just a moment and thank the gentlemen for calling that to my attention. It is true, my dear old grandfather used to peddle tinware with an old cart and a donkey. As a matter of fact, after this meeting is over, if my friend will come with me, I will show him that old cart, but I never knew until this minute what became of the ass."
When I enter a library, when I enter the world of books, I feel the ghosts of the past on my shoulders urging me to speech. I hear Patrick Henry cry to the Burgsses, 'Is Life so dear, or Peace so sweet, to be purchased at the price of chains and slavery?' I hear Sojourner Truth tell me that the hand that rocks the cradle can also rock the boat, and William Lloyd Garrison say, 'I am in earnest, I will not be silenced.'
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