A Quote by Ken Hensley
I actually never knew Peter Green but I do respect his early work very much.
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He stepped toward her, and her heart just ached from it. His face was so handsome, and so dear, and so perfectly wonderfully familiar. She knew the slope of his cheeks, and the exact shade of his eys, brownish near the iris, melting into green at the edge. And his mouth-she knew that mouth, the look of it, the feel of it. She knew his smile, and she knew his frown, and she knew- she knew far to much.
I think of Ray Harryhausen's work - I knew his name before I knew any actor or director's names. His films had an impact on me very early on, probably even more than Disney. I think that's what made me interested in animation: His work.
It was actually Peter's idea that I should make the film. He called me in the very beginning, and I hadn't even read the book. So I read it and I liked it very much and I knew I'd certainly like to do it.
The first time I saw Peter Green play was at the Club Rado, which was a very rough club in Belfast, and at that time he'd just replaced Eric in the Bluesbreakers. I'd gone up there to sort of hang out and see if I could meet this guy Peter Green, because I'd read about him and everything.
When I came on board, it was halfway through his [Frank Sinatra] 72nd year, and when he did his last show he was gaining on 80. He knew it, the audience knew it, and there was never any attempt to conceal such a thing. His vision wasn't what it had once been. His hearing wasn't. His memory was fading. He knew these things. He was very much in need of help, and I was so happy to be able, in a small way, to render that help.
I have much respect for the people that I work with, and it's reciprocal. My shoots are always very calm. Everyone has their work to do, and we try to respect everyone's work and give them the time necessary. There's never any tension. That's something that helps to attain the simplicity that I'm looking for.
Anytime you adapt work of somebody who you respect, as much as I respect him, it's an enormous responsibility. In honoring that responsibility, what we try to do is to continually use his work, and the writing that he did about his life and his work, as our guide. That starts with his intent for what he was trying to express when he wrote it, and it extends to his intent overall.
I think Peter Norman recuperated in the sense that people who knew who Peter Norman was, he built his character around the legacy of his family, in terms of what they taught him about equality and justice for all.
Both Peter Chan and Wong Kar Wai are directors that I respect very much.
I got very lucky to work with Wes Craven, very early on in my career, and continued to work with Wes for almost 19 years. I learned so much from him, and about his sense of story and his sense of horror, and that was great to be a part of.
I suppose when I started playing guitar, it was the means to an end. I never thought of myself as a fully fledged guitar instrumentalist. And my early excursions on the electric guitar were curtailed when Eric Clapton came on the scene, and I decided I was never going to be in the same arena as a Clapton or a Peter Green.
There's nothing militant about Jesus. I don't read anything like that in any of the gospels. Peter drew his sword and cut off the servant's ear, and Jesus said, "Put back thy sword, Peter." But Peter has had his sword out and at work ever since.
Abu Musab al-Suri is someone I got to know pretty well because he's a Syrian. Very bright guy, lived in London. He actually was the person who took myself and correspondent Peter Arnett and the cameraman, Peter Juvenal, to interview bin Laden for his first TV interview.
I haven't had a cramp since '99. That was my only time, in Davis Cup, when I was panicky. I was young. I'm very proud of that. Never pulled out. Never had cramps. Never lost very much because of fitness, especially later on in my career where I knew I've put in the hard work. I've done that. I've been very fortunate and clever as well to understand how I need to work, when I need to work. So I'm very happy to have stayed injury free for so long. I hope I can still maintain a few good years on the tour. I really hope so.
One of the first things I picked up when I was very, very young out of a record store was work from Peter Saville - the early things he used to do for Factory Records.
President Obama is highly concerned with education. He's a champion on early-childhood development strategies. So I like the work he's doing, and I support it, and I realise that he's one of very few political leaders around the world that actually has early-childhood development strategise at the top of his agenda.
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