A Quote by Kenneth Branagh
Probably 90 percent of the stuff I make has inevitably been done before... Whether it's playing Hamlet, which has been on the go for 400 years, or pieces from the cinematic world that also have been essayed before, I feel released by that.
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I looked at the world of books and just went, Oh my gosh, if I'm writing novels, I'm on the same shelves as Jane Austen and Charles Dickens and Petronius - whereas with comics, they've only been doing them for a hundred years, and there's stuff that nobody's done before. I think I'll go off and do some of the stuff no one's ever done before.
Our mantra is that 90 percent of all television is bad, and ten percent has never been better. We make fun of that 90 percent.
As we see this work move forward and move on, I would only declare to you as I stand before you today that in those 90 and more years that I've had, as I've witnessed and felt and seen and been part of the spiritual experiences that have been mine, that this is the work of the Lord. It's just as has been revealed. I've sensed it and I feel it, and I so declare to you.
When you're doing something that hasn't been done before, and you're trying to build something that hasn't been built before on a platform that hasn't existed before, you are going to make mistakes. The biggest advice that I can give is to not run away from issues when they occur. Own it. Your consumers deserve that.
It's highly dishonorable to ever quit a production. I never have done it, and I can't imagine ever doing it. However, I have been in productions before where, on the first in the read-through, you feel that someone is in trouble, and indeed, actors have been let go shortly after read-throughs. I've seen that happen before.
The voice-over world has changed radically in the time that I've been in it. It used to be this rather small, select group of people who did 90 percent of the work. Now it's kind of the reverse: 90 percent of the work is done by this very broad mix of people all over the country, and the guys who used to be the go-to guys are a much smaller percentage now. But there was this massive interest in voice-over as well as in the story, so I think that also added to the film's appeal.
That's been my routine for years and years... Up early before everybody else, before I get connected, before I get bugged, before I have obligations. Get the writing done first, then be the person I want to be in other ways after that.
I've done reasonably well over the last 10 years because I took the strategy of language and politics and applied it to the corporate world, which has never been done before.
In the years that I've seen concerts, when I've paid to see somebody I want to see, there would be a certain amount of songs I'd want to hear. So whether it's stuff I want to play every night or not - or stuff I've been playing for years or stuff you get tired of playing - you have to play what people pay for and make it fair for them.
My Hellboy is modeled on my father in some ways: a guy who's been in the Korean War, and he's traveled, and he's done a lot of stuff, and he's kind of got a been there, done that attitude. He's also been in the world. Del Toro's change was to have Hellboy bottled up in a room and mooning over the girl he can't have.
I was also writing in a tradition and trying to do something different with it, something that hadn't necessarily been done before, which was a risk, but it made it interesting. My relationship with food has been complicated and rocky and not always wonderful, and it's a lens through which my entire life and identity are refracted.
'Trilogy' was more of a claustrophobic body of work. Before it was released, I hadn't left my city for 21 years, and I had never been on a plane, not once. I spent my entire life on one setting; that's probably why pieces of the album feel like one long track, because that's what my life felt like. It felt like one long song.
It seems that I have always been ahead of my time. I had to wait nineteen years before Niagara was harnessed by my system, fifteen years before the basic inventions for wireless which I gave to the world in 1893 were applied universally.
Before I was asked to be the Bachelor, I had been living in L.A. and I'd done some stuff in this entertainment world.
In the years that Ive seen concerts, when Ive paid to see somebody I want to see, there would be a certain amount of songs Id want to hear. So whether its stuff I want to play every night or not - or stuff Ive been playing for years or stuff you get tired of playing - you have to play what people pay for and make it fair for them.
Whether it's microaggressions or blatant racism, it's always been a fight. We've been fighting oppression for 400 years and it will continue to be a fight.
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