A Quote by John Lydon
I've always strived to maintain a very healthy, friendly working situation, and lo and behold, it only took forty years, so the next sixty are looking bright. You're dealing with human beings on the cutting edge, and there's bound to be tension. You have to be make room for that, and you can't be too unreasonable, because that's everybody else's role.
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He's looking for the president's kidnapped daughter; everybody he calls on to help him is busy, but lo and behold, you look across the room, and I'm waiting for that action.
I have tried to remain a working, cutting-edge journalist and I don't do it the way everybody else does it. And I think that's the difference.
The successful man or woman always looks for the advantage or benefit in every situation and lo and behold, they always find it.
A mother and daughter are an edge.
Edges are ecotones, transitional zones,
places of danger or opportunity.
House-dwelling tension.
When I stand on the edge of the land and sea,
I feel this tension, this fluid line of transition.
High tide. Low tide.
It is the sea's reach and retreat
that reminds me
we have been human
for only a very short time.
We're human beings we are - all of us - and that's what people are liable to forget. Human beings don't like peace and goodwill and everybody loving everybody else. However much they may think they do, they don't really because they're not made like that. Human beings love eating and drinking and loving and hating. They also like showing off, grabbing all they can, fighting for their rights and bossing anybody who'll give them half a chance.
I think I was probably looking for gay role models when I was younger, before I even knew or thought I was gay. I didn't really make the connection that they were gay, but I felt drawn to them because they were going against the grain, and I knew there was something that they had that everybody else didn't have. It was an edge.
Lo and behold! God made this
starry wold,
The maggot and the mold; lo and
behold!
He taught the grass contentment
blade by blade,
The sanctity of sameness in a shade.
For me, filmmaking is an ongoing self-reflection process. I kind of push everything to the edge. I feel very exposed and fragile when I make a film. It's a process of dealing with loneliness. And it's also very dramatic - because while you are working on a film, you just realize how incapable you are of dealing with all these things. And you open yourself up, and it's like your heart is utterly exposed. And it's very tiring on a daily basis.
Fifty is the new forty. I always thought my best work would come in the years forty to sixty, if I was fortunate enough to hang around - and it is hard to stick around.
One of the things I learned very early on was that if you cast the show correctly, and if you've created the right energy in the room, the solution is also in the room. The solution doesn't necessarily come from someone, but if everybody is working in a very steadfast and rigorous way, then everything you're looking for is in the room.
I think that, you know, women succeed in the cutting room or they're allowed into the cutting room because it's not a very on-display job. I mean, we're behind the scenes. We kind of whisper in your ear.
And people who believe in God think God has put human beings on earth because they think human beings are the best animal, but human beings are just an animal and they will evolve into another animal, and that animal will be cleverer and it will put human beings into a zoo, like we put chimpanzees and gorillas into a zoo. Or human beings will all catch a disease and die out or they will make too much pollution and kill themselves, and then there will only be insects in the world and they will be the best animal.
You can't do anything interesting with cutting-edge technology except not make it cutting-edge.
And lo and behold, my diabolical plan is working.
I had a very bad time with acid. I did that classic thing of looking in the mirror by mistake and seeing the devil. But I took it several times, because you always think that next time you might have the wonderful time that everyone else is having.
We're not allowed in the cutting room - and that's extraordinary. So, when a director is asking for certain nuances and colours and we feel that they're phoney, but we do it because the director asks for it, that's the one that they pick in the cutting room. And I contend that when you see a movie with bad acting, don't blame the actor... blame those guys in the cutting room because they like that take.
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