A Quote by Kelsey Grammer
I had a kind of romantic notion about being a Hollywood Errol Flynn type. Honestly, I did not get into a lot of bar brawls - but I was always willing to. About the only thing missing from my story is that I haven't had a full knock-down fight in the middle of the Polo Lounge.
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I had a kind of romantic notion about being a Hollywood Errol Flynn type.
We got kind of into a rhythm at 'Parks' because there were so many characters that we had an A story, a B story, and a C story just about every episode. So by the middle of that show's run, we always had three stories, and it worked really well.
You can count on Errol Flynn, he'll always let you down.
I've always had a knowing that being kind is a lot more effective than being angry. And being generous has always been a characteristic I've had; whatever I've had, I've always been willing to give away. Those are best spiritual qualities.
I don't think of community as being a romantic notion. I think it's as vital as air and water, and so I think that informs a lot of what I write about. It could be a story about a couple, or a song about the slow death of the family farm or a small town.
When I started dating I had this kind of Romeo and Juliet, fateful, romantic idea about love. It was almost that you were a victim - that there was a lot of pain involved and that was how it should be. Shakespeare said the course of true love never did run smooth and I had a sense it had to be painful. It was such a revelation to realise it shouldn't be that way and you get to choose who you love and who you give your heart to.
I've always said the thing about MMA that a lot of fighters don't understand is people care more about the story, about why a fight's happening, than the actual fight.
Well, there were definitely elements of my rise in radio that had to do with my being black. But going back as far as Walter Winchell, Army Archerd and Hedda Hopper, legendary wags would grab a radio microphone and talk about what Errol Flynn and other stars were up to.
I worked with a man named Patty Crane who was Errol Flynn's stand-in back in the '30s in Hollywood.
All I dreamed about Dr. Jekyll was that one man was being pressed into a cabinet, when he swallowed a drug and changed into another being. I awoke and said at once that I had found the missing link for which I had been looking so long, and before I went again to sleep almost every detail of the story, as it stands, was clear to me. Of course, writing it was another thing.
I had a very big crush on Errol Flynn during 'Captain Blood.' I thought he was absolutely smashing for three solid years, but he never guessed. Then he had one on me but nothing came of it. I'm not going to regret that; it could have ruined my life.
I'm probably the only novelist who has ever written about political fugitives who actually knew a lot about them, had contact with them, and had a realistic notion of how they survived.
By the time I left the bar, I was 30. I was a dishwasher. They call it a bar-back, but essentially, I washed dishes for a living. I had no high-school diploma, I had no agent, and my literary successes were non-existent... but it was the only thing I ever wanted to do, so I did feel trapped.
I did a movie with Woody Allen [“Hollywood Ending” in 2002]. I only had a few days with Treat on that film. I immediately liked Treat. Treat and I had a sense of humor about the whole thing.
Gwynn, she was always talking about wanting to be drunk and honestly I did want to encourage that, I wanted to go to a bar with her and let all the stuff sobriety pushed down be released so I could catch it in my palms and finally kiss her. She was just so sad. Melancholy was a fleshy wave permanently cresting on her face, she had to speak through it when she talked.
I think the thing is you always play with what you have in high school. It was always very fastbreaky-type basketball. And then when I went to Marshall, we did the same thing. We had a weird team. Our center was 6'5' and the forward was about 6'10', but he shot from the outside.
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