A Quote by Jon Gordon

I never really had a classical saxophone set-up. I just had a middle of the road set up. — © Jon Gordon
I never really had a classical saxophone set-up. I just had a middle of the road set up.
When I stepped out from doing films and had a dark period, I never did anything dark on a set, so I never made enemies on a set. I never was a bad girl on a set; I always considered films a really sacred space, so when I had my problems, I had them very much away from the film community.
I wish I had more opportunities to play for Canada when I was younger, but pros just never had the chance in those days. It was just set up that way.
I just wanted to do it all. Film and television was so strange to me because I didn't grow up in the business, I didn't know anything about it, and I had never been on set before. But, from the minute I got on set and did 'Old School,' I was like, 'I want to do this!'
In Korea, the director is on top, and the power flows down vertically. On the set, I love to come up with ideas on the spot. But in Hollywood, if I were to come up with a certain idea on set, the idea had to be taken to all these different people who had to agree.
You have to set up the right technique to get that takedown. It can't just be any shot. You have to really set it up.
I never thought I would ever be middle-of-the-road anything, much less a middle-of-the-road Christian, but it actually ended up I'm extremely middle of the road.
I typically set at least three alarms. I have two alarms set on my iPhone, I still use a Blackberry for work, so I set my alarm on that, and then if I'm staying in a hotel, I request a wake-up call. I've never overslept - knock on wood. But I have had an instance where one of my four alarms has failed, so that's why I stand by the multiple alarms.
During my 8 years in office, I set up a special investigatory branch as part of the highest court level. As it happened, from the time I set it up until now, I'm the one who has been investigated under that procedure. Of course, I had not expected this to happen.
I'm trying to think how I impressed my wife. We had an on-stage kiss, and I really went for it. Because I liked her. Usually you can get away with it being just technical, but it was a problem when I ended up kissing my wife on the set. I'd say I stopped acting and kissed her on set.
When I'm on the set, I'll come up with ideas if I'm sort of just between responsibilities, because there's a lot of sitting around on set. Invariably, though, the stuff I come up with on the set tends to be bad.
After I left Texas and went to California, I had a hard time getting anyone to play anything that I was writing, so I had to end up playing them myself. And that's how I ended up just being a saxophone player.
Starting my carrer, I had three rules. I called a press conference and said: you can't kill me in a movie; I win all my fights in a movie; I get the girl at the end of the movie if I want her. They weren't about to hear that, and I knew that I would have to do that myself, but I set the public up and set the press up letting them know what I was going to do: continuing to sell the brand and image that I had.
When I first came out with the Winery Dogs, I had a Bonham set-up. That was such a departure from the huge kits that I had become known for. It was really enjoyable.
In the 1930s and the 1940s, we set up the FHA. We set up the Home Owners' Loan Corporation. We set up specific bureaus to make our communities look the way they look.
That's the thing with electronic music, you set up systems to bring in an accident, to bring in quirks you didn't choose, but you still will have had to set up systems.
You know my mother during her lifetime was unable to set up a foundation for the arts. She always had that idea and did help the arts in many other ways but never was able to set up her own foundation, so we did it in her name after her passing.
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