A Quote by Kevin Connolly
What I think happened to the new arenas is that you need some memories. I remember going when the Staples Center first opened and it was like, 'OK,' but a couple championships later, and all of a sudden it becomes your house. You have to stake claim to it.
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I am starting to think that maybe memories are like this dessert. I eat it, and it becomes a part of me, whether I remember it later or not.
You have your wonderful memories," people said later, as if memories were solace. Memories are not. Memories are by definition of times past, things gone. Memories are the Westlake uniforms in the closet, the faded and cracked photographs, the invitations to the weddings of the people who are no longer married, the mass cards from the funerals of the people whose faces you no longer remember. Memories are what you no longer want to remember.
When you are in your twenties, even if you're confused and uncertain about your aims and purposes, you have a strong sense of what life itself is, and of what you in life are, and might become. Later.. later there is more uncertainty, more overlapping, more backtracking, more false memories. Back then, you can remember your short life in its entirety. Later, the memory becomes a thing of shreds and patches.
I feel like there are instances and circumstances in your life that always change. You can think someone's your friend, and it could be out of convenience, or there was something in it for them, or whatever. And a year later, something happens and you really need help, or all of a sudden they have to stand up for you, and it could be inconvenient for them or not benefit them. And they don't have your back. And you're like, "Ok, that friendship was circumstantial. You were only my friend when it was easy." What's hard is you can't tell from the beginning.
There's that lovely thing for the first month or two of writing a new book: OK, I don't know what that character's going to do, but we'll find out later. After about three or four months you come to that bit where you've got to put some plot in before it's too late, and you have to go back and start inserting plot, and, ooh, I've left out the literature, OK, lets put some in.
Even grief recedes with time and grace. But our resolve must not pass. Each of us will remember what happened that day, and to whom it happened. We'll remember the moment the news came -- where we were and what we were doing. Some will remember an image of a fire, or a story of rescue. Some will carry memories of a face and a voice gone forever.
I remember, the first time I played a parent was - I did a guest spot on 'Veronica Mars,' and they were like, 'OK, and this is your daughter,' and there's this little girl standing there. And I remember thinking, 'OK, this is weird... I guess I'm old enough to have a daughter.'
Yeah, I was only in New York from the age of six months until five years old. But my very first memories are all of New York. I remember my first rainbow on a beach in New York. I remember jumping on a bed in New York.
My first student film was Orientation, which was basically the set-up for Animal House. There are a couple of scenes that we later borrowed in some form.
Of course, when you remember your life, you never remember anything in a chronological way. You always have pieces of memories, and some of these memories are full of details and very colorful. Some of them you just see the action and it's completely blank.
At the end. First start off and do your youth thing In Hollywood and then go to New York later. But it wound up being later, later than I thought it was going to be.
If someone breaks into your home when you're there - that is, they don't wait to be sure that the house is empty - it's a bad situation. Honor doesn't come into it at all. Anything you need to do to survive at that point becomes A-OK.
Actually, when I was young, I believe I met Nicolas Cage. I think I was probably eight, and I remember seeing him at somebody's house - it was an event and he happened to be there. People would ask me if I was his son, because I looked like him at that point, so I do remember feeling some connection and just wanting to say, like, 'Papa!'
When you start a game, you don't think to yourself, "well, OK, I'm going throw a one-hitter today." It just becomes an organism, your outing becomes an organism and it grows.
Love? I need a lot of love." Of course you do. Everyone does. It's funny that we never say it. It's OK to scream, 'I'm starving' in public if you are hungry; it's OK to make a fuss and say, 'I'm so sleepy', if you are tired; but somehow we cannot say, 'I need some more love.' Why can't we say it? It's just as basic a need." - ONE NIGHT @ THE CALL CENTER Chapter 36 pages 293-4
All of a sudden I got a call the night of the first time we were filming and they're like, "Terry, we made a mistake. We need you to be you. You're not a joke with these guys and you're not mousy, you're very aggressive. Now it just so happens that you're going through these things, but we need you to be more physical in your role."
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