A Quote by Paul Laffoley

I first heard of [Orfeo Angelucci] from Giuseppe Conti who gave me some books by him. — © Paul Laffoley
I first heard of [Orfeo Angelucci] from Giuseppe Conti who gave me some books by him.

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Carl Jung put [Orfeo Angelucci] in his last book [Flying Saucers: A Modern Myth of Things Seen in the Sky, Harcourt, Brace & World, 1959]. He said Orfeo had made up a new bible.
I thought George Adamski was actually a fraud. Looking at him, I found him repulsive. In other words, he didn't have the wide-eyed, innocent look that Orfeo Angelucci did.
It was on Long John's show that I heard Orfeo Angelucci being interviewed. In other words, the whole thing about the green globes on the top of a car bumper and the voice coming out, you know, and then this beautiful lady.... So he went through the whole number, what you read in his book, that kind of stuff. A whole raft of things.
I'd had the experience with Giuseppe Conti, I said, "My God, that's my movie!" I kept seeing [The Day the Earth Stood Still] everywhere I could. Then finally, when VHS and DVDs came out, I got that. And I keep watching it all the time.
NAPOLEON: What shall we do with this soldier, Giuseppe? Everything he says is wrong. GIUSEPPE: Make him a general, Excellency, and then everything he says will be right.
Greg Jackson gave me hope after four losses. After my last loss in the Strikeforce grand prix against Kharitonov, I gave him a call and asked him if he thought I should retire. Some of my trainers, some people told me I had lost it. He said, 'Absolutely not. Just come to Albuquerque,' and gave me that hope.
Everyone said how brilliant of Tom Conti to be in bed in 'Whose Life Is it Anyway?' and only have his head to act with. He should be so bloody lucky. I'm not for a moment disputing that Tom Conti is an absolutely brilliant actor. But he should be so lucky to be stuck upstage in the spotlight, with everyone focused on him.
Parker wasn't supposed to be a series. He was supposed to be one book, and if he was only going to be in one book, I didn't worry about it. And then an editor at Pocket Books said "Write more books about him." So I didn't go back at that point and give him a first name. If I'd known he would've been a series, I would've done two things differently. First, I would've given him a first name because that means for 27 books, I've had to find some other way to say, "Parker parked the car."
My longings, my hopes, my dreams, and my every effort has been to live for Him who rescued me, to study for Him who gave me this mind, to serve Him who fashioned my will, and to speak for Him who gave me a voice.
One can't prescribe books, even the best books, to people unless one knows a good deal about each individual person. If a man is keen on reading, I think he ought to open his mind to some older man who knows him and his life, and to take his advice in the matter, and above all, to discuss with him the first books that interest him.
But, in the end, the books that surround me are the books that made me, through my reading (and misreading) of them; they fall in piles on my desk, they stack behind me on my shelves, they surprise me every time I look for one and find ten more I had forgotten about. I love their covers, their weight and their substance. And like the child I was, with the key to the world that reading gave me, it is still exciting for me to find a new book, open it at the first page and plunge in, head first, heart deep.
When Kubrick called me about 'The Shining,' it was very strange. He first asked me to write music for his film, but I instead gave him suggestions about some of my pieces. I told him about 'The Awakening of Jacob,' which he did use in 'The Shining.'
Wenger gave me the opportunity to be where I am today. He's a coach that helped me a lot, who gave me a chance, who's always been there for me in the bad moments. He called me, consoled me, gave me good advice, told me what I had to do to become a great player. I can only thank him.
I got into music when I was a little boy. My dad was always into jazz. I got my education from him. The first time I listened to jazz, he gave me a Thelonious Monk record. It was so different from anything I had ever heard. It took me a while to understand it, and I liked that. I liked the fact that it wasn't immediately palatable.
I remember where I was when I heard Yngwie Malmsteen for the first time. It was such an epiphany for me, and it really shaped the way I play today. I think I heard him in '83, if I'm not mistaken - I was 13 years old - and it really was amazing for me.
I worked with him on 'Agneepath,' where we acted together. I played his uncle. Everyone, including Amitabh himself, wondered how I would play his uncle since I was younger than him. I knew what I had to do. I shaved my head, gave myself a receding hairline and some bald patches. He was shocked to see me when he saw me for the first time.
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