A Quote by Karen Morley
From that time on, I always had the studios on my neck.
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A long time ago, I had a bird that annoyed me, and the bird had to go. The bird's neck was snapped. I would also snap Conor McGregor's neck in a similar fashion.
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 go to studios and dance all the time. And that's something that will always be instilled in me. That was always my first passion from the time I was 3 years old - dance.
I know it sounds strange - a blind teenager buzzin' round on a motorcycle - but I liked that; that was me. I had always been nervy, and I always had a lot of faith in my ability not to break my neck.
I broke my neck, it's a classic neck break from chin to chest. If I had been alone, I would probably be dead.
Television studios bet the farm on reality shows, where they didn't need any actors and movie studios had no plans for any quality movies that required the presence of me.
I didn't have time to worry about the great big scar on my face, I just had to be relieved I hadn't been stabbed in the eye or the neck. I had to accept what had happened and move on and football helped me to do that.
I have a plate on my neck. I had my neck fused.
Murnau is neck to neck with Bergman as my favorite director. He's responsible for some of the best images in cinema of all time, from 'Nosferatu' to 'Faust' to 'Sunset.'
The studios always had their idea of what I was, and they'd give me the dumb-blonde roles.
I'm first and foremost a company man, surprising as that is. I love Warner Brothers. That's where I have a deal. That's where I've been for years. So I don't really interact too much with other studios and do things with other studios and I don't necessarily read scripts from other studios.
For a long time, I had this constant feeling that I just wanted to look behind me. The hairs on my neck were standing up all the time, I didn't know where was safe.
I had my neck hurt for like five years, I could barely move my neck from doing this stunt, I almost died twice doing stunts, it's really dangerous.
One of the wonderful things that I've always loved as an art student, what I always loved about comics, was that they are interpreted differently by different graphic artists all the time, so now film is doing that thanks to Marvel Studios.
There was a period around Columbine when horror films were being kind of assailed by the government. The studios got very afraid that they were going to be sued, and studios at about that time were all being taken over by corporations.
One of the things I've always thought is a drag in so many period adaptations is that they are always buttoned up to the neck in so many clothes all the time. I'm always looking for excuses to get them out of their clothes.
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