A Quote by Leo Kottke
It was a kind of paralysis you would get from tendonitis and I would last about five to ten minutes into the set and it would set in and I really couldn't play.
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We would play, then they would play a set, then we would jam on the last song.
My ego would be fed tremendously when I'd go on a set and get in a car and tear it to pieces. I'd get out and everyone on the set would applaud.
My Gram said that I would get the role in whichever show God thought was right but it wouldn't hurt to express a preference. I told her that I would like to do 'The Brady Bunch' because I'd have five other kids on the set to play with. God was listening.
Commissions suit me. They set limits. Jean Marais dared me to write play in which he would not speak in the first act, would weep for joy in the second and in the last would fall backward down a flight of stairs.
I used to juggle from one set to the next. I would start at 5 A. M. in the morning and would sometimes finish only at 5 A. M. the next day. I would then go home, take a bath and set out again. There would be no sleep at all.
My Gram said that I would get the role in whichever show God thought was right but it wouldnt hurt to express a preference. I told her that I would like to do The Brady Bunch because Id have five other kids on the set to play with. God was listening.
I have a dream: that in my job, everything goes a bit faster. Five minutes hair, make-up five minutes, ten minutes and ready for a good picture. That would make life much easier.
There were people who went to sleep last night, poor and rich and white and black, but they will never wake again. And those dead folks would give anything at all for just five minutes of this weather or ten minutes of plowing. So you watch yourself about complaining. What you're supposed to do when you don't like a thing is change it. If you can't change it, change the way you think about it.
I had a personal experience of my mum being in comatose state in 2004. I would go to the hospital every day but would not do anything. I would just meet the doctor for five minutes who would update me about her.
But this man had set down with a hammer and chisel and carved out a stone water trough to last ten thousand years. Why was that? What was it that he had faith in? It wasn't that nothin' would change. Which is what you might think, I suppose. He had to know better'n that. I've thought about it a good deal. . . And I have to say that the only thing I can think is that there was some sort of promise in his heart. And I don't have no intentions of carvin' a stone water trough. But I would like to be able to make that kind of promise. I think that's what I would like most of all.
When I usually use a theremin during a set, it feels...it feels good, because I get to take a break from playing guitar, it's a little rest, really, and I know that it's only five or ten minutes until the show ends and I can get a drink.
He was magnificent; very clever with outstanding technique. He could pass the ball over five yards or fifty; he could see things to set up other people; he could shoot and he could score goals. If you gave me Paul Scholes and ten others, I would be happy. I would tell them to give him the ball and then we would have a good team.
Hayden [Sterling] told me that he was thrilled about the way he moved around the set, that wherever he would go, there would be lighting. He didn't think about his marks because they were set in the only places he could move.
I would go into a place that was quiet and isolated and think about how my character would feel in the situation, considering who he was and what he had been through. I would think about that even up to 30 minutes. And when I felt the character was in my body and I had left, I could walk onto set or into rehearsal.
When I was about 17 or 18, I would go through my boy's garage and they had a little studio set up. I would just play around there.
After another ten minutes, the gates of thievery would open just a crack, and Liesel Meminger would widen them a little further and squeeze through. ***TWO QUESTIONS*** Would the gates shut behind her? Or would they have the goodwill to let her back out? As Liesel would discover, a good thief requires many things. Stealth. Nerve. Speed. More important than any of those things, however, was one final requirement. Luck. Actually. Forget the ten minutes. The gates open now.
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