A Quote by Ozzy Osbourne
There was a cinema called The Orient outside the community centre where we rehearsed in Six Ways, and whenever it showed a horror film the queue would go all the way down the street and around the corner. 'Isn't it strange how people will pay money to frighten themselves?' I remember Tony [Iommi] saying one day. 'Maybe we should stop doing blues and write scary music instead.'
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In Madrid, there's a big street in the centre called Callao. I remember being there with my mum and pointing to one of the big film posters and saying, 'I want to be up there.' That was my dream, and I got it.
I wake up from dreams and go, 'Wow, put this down on paper.' The whole thing is strange. You hear the words, everything is right there in front of your face. ... I am always writing a potpourri of music. I want to give the world escapism through the wonder of great music and to reach the masses. ... And I remember going to the record studio and there was a park across the street and I'd see all the children playing and I would cry because it would make me sad that I would have to work instead.
I never used to watch horror films because I was a nervous type. I believed all the publicity about The Exorcist when it was released - you know, all that nonsense about people fainting in the cinema - and decided it would definitely freak me out. I particularly remember my girlfriend telling me about Suspiria - ironic considering my first ever film work was with Argento - and how scary it was.
I grew up on all sorts of horror - Hammer Horror and Vincent Price's 'Theatre Of Blood.' I loved the hidden, scary layers, but there wasn't that much around for youngsters in terms of horror books. I can remember reading Stephen King's 'Salem's Lot' and 'Cujo,' but I thought there should be more for teenaged horror fans.
My favorite advice that I always go to is ever since I was in middle school is from my mom. Every day before I left the house, she would say "Remember who you are." Every day. So when I started getting into music, every day she sends me a text saying, "Remember who you are and remember why you're doing this."
When it was announced I had won the Tony Award, I was in Bangkok doing a movie with Judi Dench. I remember coming back from the location to the Oriental Hotel and hearing someone yelling across the reception area, 'You've won the Tony!' It was wonderful and strange to be halfway around the world.
With The Exorcist we said what we wanted to say. Neither one of us view it as a horror film. We view it as a film about the mysteries of faith. It's easier for people to call it a horror film. Or a great horror film. Or the greatest horror film ever made. Whenever I see that, I feel a great distance from it.
I think that's a challenge as believers - how do you demonstrate the gospel? How do you do that? I mean it's easy to talk about it and say 'Oh this is what we are supposed to be doing' and this is the relevance. But how do you do that with your hands instead of your mouth? How do you do it every day, instead of just onstage, how is it enacted? And I feel like that is one of the ways that we can show what we believe, by how we treat people around the world.
Whenever we go to the cinema in Mexico, we have to get taken in two minutes before the film starts. We sit in a little room and wait for everyone else to sit down, or it becomes very difficult. Then, afterwards, there are people outside waiting for me.
After the success of 'August,' there were people saying I should change my life. And maybe I should have bought a yacht and traveled the world instead of returning to Steppenwolf to act in and write plays. But I'm from the Midwest, and that's what we do: We go back to work.
The debt settlement company will direct you to stop paying your creditor and instead send the money directly to them each month. The company's goal is to demonstrate to your creditor that you don't have the money to pay up - that's your leverage. After a few months, the company will typically go to the creditor and say, "I'm holding X dollars on behalf of your customer. He doesn't have the money to pay you, so you should take this amount as a settlement or you'll end up with nothing." If the creditor wants to get paid badly enough, it will take the money.
There's no way in the world I can feel the same blues the way I used to. When I play in Chicago, I'm playing up-to-date, not the blues I was born with. People should hear the pure blues - the blues we used to have when we had no money.
My hope is that the film Wall Street 2 will actually serve as a way for us to bridge that gap between Wall Street and Main Street. Certainly that's dealt with in the film of how it does affect everybody, so, you know, I always find that when you can create a movie or a play or a book that gives somebody a safe theoretical place to discuss what is really going on in the day it tends to forward discussion, so that would be my hope coming out of the film.
Theres no way in the world I can feel the same blues the way I used to. When I play in Chicago, Im playing up-to-date, not the blues I was born with. People should hear the pure blues - the blues we used to have when we had no money.
A really large percentage of kids from Duke go to work on Wall Street, and they make a lot of money, but they're almost slaves to their jobs, working crazy hours. Their job totally dominates their lives, and most of them aren't happy. So many of my friends are going down that path. I even thought about it for a second, like "Should I be doing that?" But I just pursued my dreams instead, and I always tell people to do that. Now I make more money than they do, and I'm doing what I love.
A man walks down the street. It's a street in a strange world. Maybe it's the third world. Maybe it's his first time around. He doesn't speak the language. He holds no currency. He is a foreign man. He is surrounded by the sound, sound of cattle in the marketplace, scatterlings and orphanages. He looks around, around he sees angels in the architecture spinning in infinity and he says, "Amen" and "Hallelujah!
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