A Quote by Krzysztof Penderecki

When Kubrick called me about 'The Shining,' it was very strange. He first asked me to write music for his film, but I instead gave him suggestions about some of my pieces. I told him about 'The Awakening of Jacob,' which he did use in 'The Shining.'
Tell me about yourself, Miss Russel." I started to give him the obligatory response, first the demurral and then the reluctant flat autobiography, but some slight air of polite inattention in his manner stopped me. Instead, I found myself grinning at him. "Why don't you tell me about myself, Mr. Holmes?
My father was a doctor, but his passion was making cars, and he was also very good at carpentry. He was a gem, and I don't blame him for not understanding me. When I told him that I would be leaving, he checked his pocket and took out 100-rupee note and gave it to me. He did not like that I was leaving, yet he gave me the money.
I was asked by an editor to consider writing something about an American inventor. I asked him if he knew who invented the computer. He said he didn't. In that case, I told him, I should write a book about John Vincent Atanasoff.
I went into a restaurant one night and ordered lobster, and the waiter brought me one with a claw missing. I called him over and told him about it. He told me that in the back there's a tank they keep the lobsters in and while they're in there, they fight and sometimes one loses a claw. I told him 'then bring me a winner.'
Yet you told him you loved him?" "Yes, I did." Bridgid was clearly impressed. "You're more courageous than I am. The fear of being rejected pains me to even think about, yet you boldly told Brodick how you felt, even though he hadn't spoken his feelings." "Actually, he told me I loved him.
Greg Jackson gave me hope after four losses. After my last loss in the Strikeforce grand prix against Kharitonov, I gave him a call and asked him if he thought I should retire. Some of my trainers, some people told me I had lost it. He said, 'Absolutely not. Just come to Albuquerque,' and gave me that hope.
When I told my father that I wanted to join the film industry, he asked me if I was sure about it, as acting is a very insecure profession. He also asked me if my reason to join the same profession like him was to have an easy road. I said no.
Again, after his fall, God gave him an occasion to repent and to receive mercy but he kept his stiff-neck held high. He came to him and said "Adam, Where are you?" instead of saying "What glory you have left and what dishonor you have arrived at?" After that, He asked him "Why did you sin? Why did you transgress the commandment?" By asking these questions, He wanted to give him the opportunity to say, "Forgive me." However, he did not ask for forgiveness. There was no humility, there was no repentance, but indeed the opposite.
After I read the story of 'Dangal' and before the film released, I called director Nitish Tiwari asking him if he had any good script. He told me to wait for some time. So we had three-four sittings, and this film, 'Chhichhore,' came to him. The film did not have superstars, but I felt that this is the script that needs to be told.
What hurts is, when I heard rumors about Sunjay's engagement and asked him about it, he denied it. I wish he had told me himself. But I'm happy for him. He has moved on and so have I.
Bob Wallace was my editor at Rolling Stone when I first started writing there, and he's a wonderful editor. I was in the Philippines during the Marcos overthrow, and I was up on what was called Smokey Mountain. I think it's gone now, but it was a garbage dump with a bunch of people living on it. I was talking to Bob on the phone, and I told him, "I'm a humorist. I can't write about this." And Bob told me to let my style be dictated by the subject, to take what I saw and write about it in the tone that it requires.
I first wrote about Michael Jackson in the 1980s. His skin was growing paler, his features thinner, and his aura more feminine. Some called him a traitor to his race. Some fussed about his gender fluidity. I saw him as a post-modern shape-shifter. But the shifts grew more extreme and mysterious.
What's important to me about horror stories is to look at what's actually horrifying about humanity, instead of shining a flashlight on it and running away giggling.
My very first film in Hindi - 'CID' - was with Dev Anand. I was a big fan of his. So you can imagine my excitement and nervousness at doing a film with him. On the very first day on the sets, when I called him 'Dev Saab' he turned around and said 'No no, call me Dev.'
The worst was relizing that I’d lost him for nothing because he’d been rght about all of it-- vampires, my parents, everything. He’d told me my parents lied. I yelled at him for it. He forgave me. He told me vampires were killers. I told him they weren’t, even after one stalked Raquel. He told me Charity was dangerous. I didn’t listen, and she killed Courtney. He told me vampires were treacherous, and did I get the message? Not until my illusions had been destroyed by my parents’ confession.
I have a definition of success. For me it's very simple. It's not about wealth and fame and power. It's about how many shining eyes I have around me.
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