A Quote by P. J. Soles

I was supposed to do The Joy Of Sex with John Belushi, but the week before we were gonna start filming, he died. So that was really tragic. That put the whole project on the shelf.
But 'Cuban Linx' was a project that really needed to come, and I really wanted to get it off my chest because I know that the fans were really skeptical about it, like 'is this really gonna be what it's supposed to be?' So once everybody caught it for what it was and everybody was happy, that's mission accomplished for me.
The reason I wanted to start directing is that as an actor I felt I came into a job late. There's a whole team of people who have been working on it for months before you start. You have this really intense period of filming and then you leave it, knowing that the director will work on it for another few months.
I remember my mom telling me that when John Belushi died, my dad cried. I remember thinking that was strange as a child, but today, I kind of get it.
I had seen my buddies crash and burn. Keith Moon died, and I always thought that was the way he wanted to go. John Belushi was a dear friend. A lot of the guys that I ran with were ending up dead, and I saw myself right on schedule to do that. I had some moments of clarity - once in a while.
You're never going to see the fat Elvis in me. People I admired like Janis Joplin, Jimi Hendrix and John Belushi all died at 27. I've got jeans older than that.
When it's open and honest, that's when the real nature of who you are as a vocalist or as a performer, all of that stuff can finally start to become what it's supposed to be. Like a settling into yourself. It's not even a musical thing, it's a whole mindset, a whole acceptance of who you were supposed to be. Life sounds good.
When it's open and honest, that's when the real nature of who you are as a vocalist or as a performer, all of that stuff can finally start to become what it's supposed to be. Like a settling into yourself. It's not even a musical thing, it's a whole mindset, a whole acceptance of who you were supposed to be. Life sounds good
'Parable of the Sower' is capital-I Important. Put it on the literary fiction shelf. Put it on the Holy Crap fiction shelf. Put it on every shelf. This is one of the all-time great American novels.
The goal for me is, I build the record that I put out as one individual song. Even though it's broken up into tracks, to me it's like one hour-long piece of music. In assembling the whole thing, I'm really thinking, okay, it's gonna end here, it's gonna start here, and I kind of have the idea of the journey.
My mother was a dramatic and egocentric person, and she died before my father, who died of Alzheimer's disease. But I'd often thought, God, we were so lucky that was the order in which they died because she would have felt put upon.
I sort of as a kid was fascinated with all the fat comedians, like John Candy, John Belushi, Benny Hill.
I was doing a couple of films which got shelved a week before the shooting was supposed to start.
My favorite moment of the whole thing was when John Belushi suggested that I get a hold of all the blues records I could so I could research the music.
There were numerous times where, at the end of a week of working on a song, there was a part of it that we still weren't feeling, so we'd scrap the whole thing and start from scratch the next week.
I remember that, before John Lennon died, everyone was saying that Rolling Stone couldn't do good reporting anymore. But when he died, they wrote this amazing issue, as they should have about Lennon. They did that when Elvis died, too.
'The Blacklist' was really right place, right time. I read the script and met with Jon Bokenkamp, John Eisendrath, John Fox and John Davis, and we just hit it off. They understood that I was not so much trying to adapt to television, but adapt a cinematic style to the things that we were gonna do.
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