A Quote by Momina Mustehsan
I got a call for 'Aaya Na Tu' the same day that Forbes featured me in their list of 30 under 30. That day, I knew I had established myself as more than just a singer.
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Think of a world where there is no ride-sharing; people are driving themselves to work. You now have 30 people being served by 30 cars. Those 30 cars are only served 4% of the day; 96% of the day, they're stored somewhere. Around 20% to 30% of our land is taken up just storing these hunks of metal that we drive around in for 4% of the day.
Turning 30 was really big for me. I can get really stuck on 'I don't like this or that about myself.' I've found that the only thing that breaks that for me is being able to spend time alone, going to the movies by myself or going to art museums alone. I do that a lot. I've discovered the importance of even 15 or 30 minutes a day where it is just me.
Don't say I want to lose 30 pounds in 30 days. Say, you know what I want to lose weight- say 30 pounds in three to six months for instance. But more importantly I want to knock out 20 pushups a day or I want to run a 3K a day and time myself, and try to beat my time every time every week.
You can try to call it coincidence, but at the end of the day, there are 20, 30 things when you combine them all that had to happen at the right time in order for me to be here. That’s why I call it a miracle.
I'm cleaning toilets for $30 a day, because I needed that $30, and people are pointing at me, saying, Look at the big movie star. Look where he is now. I just said, I'm where God put me.
I missed so much of the Swinging Sixties by working. From 1961 to 1969, I got up at 4.30 A.M., a car came for me at 5.30 A.M., and I was taken to our studio at Teddington or Elstree, and we filmed until I got home at 9.30 P.M., five days a week.
I had a notepad and I wrote down 30 things to make myself better just off the top of my head, and the next day I started to do that.
I was about 29 or 30, and I started writing monologues for myself. I felt I got more immediate encouragement from that than I ever had in acting.
A standard day usually starts very early - 4.30 A.M. pick-ups and in the make-up chair by 5.30.
Most film productions, when they're based at a place, they get, like, a 30-mile radius or a 30-minute radius to get out of the town. And once you go past that, your day starts to become shorter, and you have to start paying your drivers more, and everybody just gets paid more, and you have less time to shoot, and everything costs more.
I picture myself now, and I picture myself in 30 years, and I'll probably be the same. I'll still think I'm not the greatest singer I can be.
One report said that since my time on the run I've had 2,500 girlfriends. I mean you got to realize, I've been on the run for more than 30 years, I have got to have had more than that!
One report said that since my time on the run I've had 2,500 girlfriends. I mean, you have got to realize I've been on the run for more than 30 years. I have got to have had more than that.
[In 2004 on being at TBWA Chiat Day for 30 years.] Different people are different in terms of the way they're made. I knew since the day I arrived at Chiat Day that I was at home, and that I was at a place where I could prove my talent and my ability... I am also married for 35 years too, so it could just be how I am.
The Naval Academy is a very prestigious place, and I choose to try it. I got there and darn near didn't pass, just about flunked out the first year, but a commandant by the name of Bush Bringle managed to call me in one day and taught me more about leadership in about 15 minutes than I have learned in the rest of my life. And because of Bush Bringle I regained some faith and confidence in myself, learning I had a little bit more in me than I thought, and I went back to work and finished.
I think it was around the time of doing those shorts. [Producer] Christine Vachon, I had a meeting with her, and she mentioned the short, this AOL short, and asked if I wanted to do one. And then the next step was the "30 for 30," and again that boosted my confidence enough to decide I'm going to do a feature narrative. And I was supported by my agency, and [producer] Jane Rosenthal has been an exceptional friend, and she produced "All We Had," she encouraged me to do the "30 for 30."
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