A Quote by Luc Ferrari
Whereas Schaeffer and Henry were working like samplers, their idea was to capture those sounds which couldn't be serially calibrated because they were too complex in character.
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I had no idea what I was signing up for. I auditioned for some random character. I knew the sides were fake, but what they were trying to capture was an emotional toughness and a woundedness. I knew I liked the character. I didn't know who the character was, but I liked the spirit of the character.
With '5 Boroughs,' we were each working on beats, sitting in front of our laptops and samplers.
We were fortunate at that time we were working with Virgin, and with Flood, probably more well-known as Brian Eno's engineer now and U2's producer, etc. Even though we weren't working in a strictly popular music area, which was great, we were lucky enough to work with people who were on the cusp of those sort of things.
There is not a hint of one person who was afraid to draw near him [Jesus]. There were those who mocked him. There were those who were envious of him. There were those who misunderstood him. There were those who revered him. But there was not one person who considered him too holy, too divine, or too celestial to touch. There was not one person who was reluctant to approach him for fear of being rejected.
Kids don't have a little brother working in the coal mine, they don't have a little sister coughing her lungs out in the looms of the big mill towns of the Northeast. Why? Because we organized; we broke the back of the sweatshops in this country; we have child labor laws. Those were not benevolent gifts from enlightened management. They were fought for, they were bled for, they were died for by working people, by people like us. Kids ought to know that.
One of my career ambitions was fulfilled working with John [Hurt]. I loved his work long before I ever had the idea of being an actor, so I was nervous to meet him. I was like a fanboy, like that annoying character on 'Saturday Night Live'. I'm sitting there. 'Do you remember when you were in 'Midnight Express'? Remember that scene you were in?' And he doesn't disappoint.
Electronic music used pure sounds, completely calibrated. You had to think digitally, as it were, in a way that allowed you to extend serial ideas into other parameters through technology.
There were sins that were too subtle to be explained, and there were others that were too terrible to be clearly mentioned. For example, there was sex, which was always smouldering just under the surface and which suddenly blew up into a tremendous row when I was about twelve.
To live in a great idea means to treat the impossible as though it were possible. It is just the same with a strong character; and when an idea and a character meet, things arise which fill the world with wonder for thousands of years.
For the second album, 'Discovery,' when we had to think about doing a live show I think we were not happy with the way it would look like and sound like. We were not happy coming onstage with just two or three samplers and a few drum machines, you know?
I remember telling people I booked this job; they were like, 'What is it called?' I was like, 'Peaky Blinders,' and they were like, 'What?' It sounds ridiculous, but I like it because there's an instant intrigue about the name.
I remember working with Jackie Chan on Shanghai Noon [2000], and when we were working on the script, I thought that my character thought about being an outlaw the way a kid today would think about being a rock star, as a way to impress girls. So it was just kind of a funny idea, but once we had that idea, it changed the character and made it something that was funnier to me to play.
The advertising men made it clear that there were two ways of looking at ideas in a war against fascism. Those of us who were working on the project believed ideas were to be fought for; the advertising men believed they were to be sold. The audience, those at home in wartime, were not 'citizens' or 'people.' They were 'customers.'
I wanted to become an actor. I went to Guildhall School of Music and Drama, which is one of the main drama schools in London where you go when you are older. But I was doing the junior one when I was a kid. And some friends there had agents. I was fourteen and I was like, "I want an agent! It sounds awesome!" I had no idea what that was. I thought those guys looked like men in black. They were hanging around in suits all the time. So I luckily got a very good agent in London and started auditioning. And then when I was 16, I got my first film and I've been working ever since.
The 19 hijackers that came over here to commit the attack on Sept. 11, there were those that were at the bottom of the line. There were those who were the principal conspirators. There were those who were the pilot. Everybody has a role.
I think it's incredible because there were guys like Mays and Mantle and Henry Aaron who were great players for ten years... I only had four or five good years.
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