A Quote by Nina Conti
I looked into studying psychoanalysis, wrote to the governing body and was about to start the year where they psychoanalyse you, four times a week, before you get to do it yourself. I just thought I'd taken the ventriloquism as far as I could. My act is so deconstructive, and I'd made all the monkey jokes anyone wanted to hear.
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You hear a lot of jokes every once in a while about 'Silent Cal Coolidge.' The joke is on the people who make the jokes. Look at his record. He cut the taxes four times. We had probably the greatest growth and prosperity that we've ever known. I have taken heed of that because if he did that by doing nothing, maybe that's the answer.
I made about fifty-four dollars a week and spent it on two flying lessons every week at the age of sixteen and was able to get a license then pretty early and knew that that's what I wanted to do, some kind of a career in aviation. I did know about space flight, but at that point, it was still pretty far out there.
Before I moved into the mainstream of American movies, I wrote a script as an experiment. I wanted to get very far away from the clichés about the three-act play - structure, development.
I lift weights in the offseason about four times a week; during the season, I'll lift three times a week. The weight training is key because most guys come in during the summertime as strong as they are going to get, and they fizzle down as the year starts.
We were looking for someone who could get the film [Filth] made at that kind of level, with the finance we wanted, and we spoke to a lot of people. When I met James [McAvoy] in the Soho Hotel with Jon Baird, the director, he looked about ten years old. I thought there's no way he's going to be a forty-year-old divorced alcoholic cop. I thought, really lovely guy, I'll let him and John talk and see if they get on.
I am made for running. Because when you run, you could be anyone. You hone yourself into a body, nothing more or less than a body. You respond as a body, to the body. If you are racing to win, you have no thoughts but the body's thoughts, no goals but the body's goals. You obliterate yourself in the name of speed. You negate yourself in order to make it past the finish line.
When I wrote for myself before as an artist, I probably wrote about 15, 20 songs a year. I thought that was a lot. Then, when I first started writing for the people, I wrote, like, 65 songs in a year for two years in a row.
I really thought to myself, 'If I'm going to do anything in this world, I am going to be the best I can be.' I have a tennis coach that has taken me as far as my body can go. I hired a private skiing coach during my birthday week. I have a private yoga instructor. I just don't understand why you wouldn't give yourself every advantage.
I think sometimes when people get older they start to limit themselves and think that if they wanted to start singing or they wanted to start playing guitar or if they wanted to, I don't know...become an archeologist - whatever it is, they think they just can't do it anymore because they've hit a certain age and I just think that's like putting yourself in jail. I realised a couple of years ago that the more that I did and made things and created things that I could love; it helped me to realise that I was actually loving myself and what came out of me.
It's amazing the things you realize
when you lose someone:
you get mad at yourself for not
saying the things you could've a million times,
you take for granted the days
spent doing nothing when
you could have been with them.
Anyone can be taken,
at any time in our lives,
but we always wait until they're gone to say
the things we never had the courage to before.
I love playing three, four times a week. That's what I've always wanted to do. In college we played Friday, Saturday, then had the whole week to think about it.
Charles Darwin wrote a famous book in 18 [gibberish]. And that book was an interesting book, cuz it was called "Monkey-Monkey-Monkey-Monkey-Monkey-Monkey-You".
I thought I could capture the stories of the city on paper. I thought I could write about the horrors of the city. Horror stories you see. I tell you I didn't have to look far for material. Everywhere I looked, there were stories hidden there in the dark corners. . . . I wrote and still there were more. . . . No one would publish them. 'Too horrible,' they said. 'Sick mind,' they said. I thought I could write about the horrors of the city but the horror is too big and it goes on forever.
When I landed in L.A. in early '89, William Morris decided to take me on to see if I could get any jobs. I was cast in a TV movie called Protected Surf, and made $30,000 in four weeks, and I decided I needed to take acting seriously, because I had never made that much money in a year, much less four weeks. That's when I decided I thought I could make a career out of it.
In the beginning, it was odd to have so much attention brought to my body type. I thought, "Uh-oh, brace yourself." But everyone has been so positive. During the first season, a woman came up to me at dinner and said, "I just want to thank you - watching you has made me proud of my body." I thought, What an amazing thing for someone to say! To make anyone feel good about themselves makes me feel good.
If you sell yourself short before you even start, you'll never know how far you could have gone. Ambition is a wonderful thing and has gotten me farther than I ever thought I'd go.
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