A Quote by Keith Olbermann
My last sort of crisis was about overcoming the people who were more interested in what I had done than what I was doing in the present.
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People were actually 6 times more likely to buy a jar of jam if they had encountered 6 than if they encountered 24, so what we learned from this study was that while people were more attracted to having more options, that's what sort of got them in the door or got them to think about jam, when it came to choosing time they were actually less likely to make a choice if they had more to choose from than if they had fewer to choose from.
I had written three books [Games of Throne], at that point, and each one of them was better than the other. At a certain point, as the books were doing well, I started getting interest from Hollywood, from various producers and studios who were initially interested in doing a feature film. I met with some of those people and I had phone conversations with some of those people, but I didn't see it being done as a feature film.
You've probably heard about the theory of steam-engine time - that even after the steam engine had been invented, it had to wait until people were ready to make use of it. The same thing happens in literary circles. The truth is, I'm not terribly interested in Victorian times; I'm interested in Victorian writers. I'm interested in most eras of history, but not the Victorian Era especially. I was interested in the John Franklin Expedition. I was interested in these last five weird years of Dickens' life. And I just have to take the age that comes with all that when I write about it.
It always did bother me that the American public were more interested in me than in my work. And after all there is no sense in it because if it were not for my work they would not be interested in me so why should they not be more interested in my work than in me. That is one of the things one has to worry about in America.
My last couple of films, 'ABCD 2' and 'Rock On 2,' didn't do as well as expected. It affected me quite a bit, but then easier said than done, I had to stop thinking about it and continue doing what I love doing best!
The [Vietnam] war's gone on for three years. And we'd thought we'd ended it because we'd done exactly what we were told and what we told ourselves we'd had to do. We had a majority. We were against the war and this created a crisis for democracy and a crisis for the antiwar movement.
I grew up being fascinated by accents and dialects. One of the things that interested me were actors that were doing different characters, or sort of more caricatures.
I adore Bette Davis and Vivien Leigh, but more because they were good actresses. That’s what makes me interested in them, that they didn’t present themselves as idols; they were just doing their jobs.
I adore Bette Davis and Vivien Leigh, but more because they were good actresses. That's what makes me interested in them, that they didn't present themselves as idols; they were just doing their jobs.
Atticus had said it was the polite thing to talk to people about what they were interested in, not about what you were interested in.
I don't care about my personal acting career anymore. I'm done with it. After 10 years of making movies and doing better than I ever could have imagined, I sort of had to ask myself: 'What am I supposed to do with all of this success that I have had?'
Intelligent people, caught at anything, denied it. Faced with evidence of having denied it falsely, people said they had not done it and had not lied about it, and didn't remember it, but if they had done it, or lied about it, they would have done it and misspoken themselves about it in an interest so much higher as to alter the nature of doing and lying altogether.
It is difficult to say why I decided I wanted to be an artist. Obviously, I had some facility, more than other people, but sometimes facility comes because one is more interested in looking at things, examining them, more interested in the visual world than other people are.
I just turned 30 so I got really introspective as you do, questioning my life. And when I stopped and sort of looked back at the past decade, I realized I had done more work than I thought I had done.
Crisis and my experience of Punk Rock in Britain/Europe was anything and everything but "fun" and this sort of idea comes from people who were either not there at the time, or were and have an axe of some kind or another to grind about their own experiences with Crisis. The years between 1977 and 1980 were some of the hardest of my Life and they certainly contributed to Tony and I wanting to destroy the group in 1980 and head for sunnier pastures artistically, culturally, and whatever else we could find.
When [George W.] Bush was elected, I think they thought I would have some sort of special "in" with that administration, to provide some sort of inside poop. Which is not something I'd be interested in doing, and anyway, I didn't. I actually knew more people in his dad's administration. So it was obviously winding down at Rolling Stone, and they were having financial troubles, too. They weren't getting the advertising, and the issues were getting thin. They fired Bob Love, who'd been my editor there for a long time.
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