A Quote by Merle Dandridge
By always looking out and always moving myself forward and being disciplined and being open to new experiences, I think that's how I was able to diversify because if it felt right to me creatively, I went for it. It didn't matter if I knew how to do that, I just did it because my creative heart felt pulled to it. That seems to have worked out.
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I was thinking about time, how on a movie set the shot is maintained in the same time no matter how many takes and hours pass. Reflectors and lights are added, footprints are smoothed away, so that there are no telltale clues as the day wears on. When the shot is finished and the plugs are pulled, time seems to leap forward in a matter of seconds. Perhaps making movies is a step toward being able to move backward and forward and in and out of linear time.
I worked a telemarketing job. I always worked those because I always knew how to talk to people and I always knew how to sell because my father was a salesman. He used to sell vacuum cleaners, payroll services to companies, so that was natural for me to go into sales.
My New Year's Eve is always 2 July, the night before my birthday. That's the night I make my resolutions. And this year scares the life out of me, because no matter how successful, how good things appear, there is always a deep core of failure within me, although I am trying to deal with it. My biggest fear, this coming year, is that I will be waking up alone. It makes me wonder how many bodies will be fished out of the Thames, how many decaying corpses will be found in one-room flats. I'm just being realistic.
I think that every new record is a chance to... I think what it is for me is my heart and soul at that moment in time... I've always felt that just being able to make a record is a privilege.
I knew that to find and to feel Yoav again would be terribly painful, because of what had become of him, and because of what I knew he could ignite in me, a vitality that was excruciating because like a flare it lit up the emptiness inside me and exposed what I always secretly knew about myself: how much time I'd spent being only partly alive, and how easily I'd accepted a lesser life.
I remember being on Hawaii when I sailed to Hawaii. It felt unsettling to be walking around there because I was thinking, "This place could just sink at any second." In actuality, it totally can. But it really felt like, I am this teeny, tiny speck out in the middle of all that water, I feel so unprotected right now. It almost felt creepier than being on a boat, which is an even smaller speck out in the middle of nowhere. But I felt like I had some control over that situation.
We spoke about our dreams and how we always felt safe in them, no matter how bad everthing else seemed. He told me it was one of the best days of his life and then he took out his gun. A .22 rifle. And he leaned forward and whispered, "Forgive me, Taylor Markham." Before I could ask how he knew my name and what I was to forgive him for he said, "Take care of my little girl." And then he told me to close my eyes. And I've been frightened to do just that ever since.
Its funny because when I did feel like I came out and I just felt like I was being truthful to myself, (it was at) that point I became very successful. So you know, it took a true kind of facing that truth of myself and being honest, that was when the real kind of fame or whatever that kind of stuff happened for me.
I've always thought of the sky as, like, an open canvas. When I was a kid and I looked at the sky, I always remember being able to daydream, just looking at the sky, being creative, being able to design things. What would happen if we had no sky? Where would we be? Well, obviously, scientifically, without an atmosphere, we'd all be dead.
I didn't feel that so much as an outsider when I started writing; I've felt that way all my life. I don't know, man; I guess I was just wired wrong. When I was growing up, I always wanted to be somebody else and live somewhere else. I've always felt a little uncomfortable around people. And I'm not trying to romanticize this, because it wasn't romantic. I wasn't trying to be a rebel; I just always felt a little out of it. I think that's why it's pretty easy for me to identify with people living on the margins.
All through first and second and third hour, Eleanor rubbed her palm. Nothing happened. How could it be possible that there were that many never ending all in one place? And were they always there, or did they just flip on wherever they felt like it? Because, if they were always there, how did she manage to turn doorknobs without fainting? Maybe this was why so many people said it felt better to drive a stick shift.
Before I could figure out how to apologize for being such an idiot, she tackled me with a hug, then pulled away just as quickly. "I'm glad you're not a guinea pig." "Me, too." I hoped my face wasn't as red as it felt.
I've never felt Truth was Beauty. Never. I've always felt that people can't take too much reality. I like being in Ingmar Bergman's world. Or in Louis Armstrong's world. Or in the world of the New York Knicks. Because it's not this world. You spend your whole life searching for a way out. You just get an overdose of reality, you know, and it's a terrible thing. I'm always fighting against reality.
Always have clear lines of communication and be open to trying new ideas. Being open to new ideas is crucial to growing as an artist. If you always have the same creative habits, how will you ever excel to the next level? The answer is, you won't. Taking those creative risks reaps the most incredible rewards.
I don't think I realized right away that I was switching from being a fan into being a performer. I've always tried to maintain that duality, because I think fandom is a way of being porous and curious, but it did feel like a step forward.
Thanks to my dad, I've always had it. He always told me how important it was to be versatile. Every time we worked out in the gym, it was always all the skills, not just being a big man.
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