A Quote by Nick Gehlfuss
After school, instead of going into the restaurant scene, I very consciously took my guitar around everywhere I could, to Irish pubs and restaurants, and I played four nights a week to make ends meet.
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I was raised in restaurants. My parents opened their first restaurant, Buonavia, in Queens when I was just 3. This business has always been my way of life. As a kid, home was reserved only for sleeping. After school, you could find my sister and I helping out at the family restaurant.
I taught myself to play guitar and sing. I ended up writing a lot of music and had a band and was playing in bars and pubs all around Sydney, going on tour. I played with some pretty big bands in Australia.
I don't really go around feeling very Irish at all. I don't go to Irish pubs. I've lived so many places, and I'm still so curious about the bigger world. It's grand to be alive in a time when mobility is so accessible.
I played the guitar and thought that was what I was going to do as a career. I still record music that is played in my restaurants.
In the very beginning, we went on tours with Rammstein in really small clubs. We didn't even have a record out. We played in restaurants and pubs in the south of Germany.
I'm just a bit frustrated that in London we make such an effort to ape the New York restaurant scene. I have good friends who ape the New York restaurant scene and do it brilliantly. None of them would claim that the primary reason for going to their restaurant was the food.
Very few restaurant workers could even dream of eating in the restaurants they work in. Many do not make a living wage.
I promised my daughter I'd name my first restaurant after her, but now the other kids are like, 'Dad, what about us?' I'm gonna have to open four restaurants!
What is a scene? a) A scene starts and ends in one place at one time (the Aristotelian unities of time and place-this stuff goes waaaayyyy back). b) A scene starts in one place emotionally and ends in another place emotionally. Starts angry, ends embarrassed. Starts lovestruck, ends disgusted. c) Something happens in a scene, whereby the character cannot go back to the way things were before. Make sure to finish a scene before you go on to the next. Make something happen.
I played on the Jets during Namath's last four years, and we used to ask ourselves, 'When is it going to happen? When are they finally going to replace him?' We'd wait for it, week by week, but it never happened.
Around middle school I studied jazz guitar and ended up playing in a jazz band for a bit. But, after high school, I haven't even touched a guitar.
In some ways, it's easier to be the lead. Week after week, scene after scene, the rhythms of filming force you to peel away a certain amount of artifice. When you're on set that much, there's a license to let the character emerge from the work itself.
My parents went out of their way for me ever since I left school. When I was 15, I said to Mum, 'I'm leaving school,' and she was like, 'Okay.' I joined a cover band and played three nights a week, and they were really supportive of that.
My father actually moved out from Chicago just so he could play tennis 365 days a year, so it was - it was a place we played every day. We played before school. We played after school. We woke up. We played tennis. We brushed our teeth in that order.
I would say I'm a storyteller first, but game making is very wrapped up in how I think of story. If I were to have a story idea, and I decided to write a novel with it instead, I'd have to very consciously de-couple it from gamedom - for example, deliberately add in things that could not be represented in a game scene.
I took classes and performed and did improv and sketch and wrote sketches and did lights and sound for other people's shows just so I could be around the theater. That was about seven nights a week for seven years.
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