A Quote by Peter Hook
I have a hard time getting my head around the idea of playing 'The Perfect Kiss' in my 50s. I can't quite get there.
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To me, all guitar players can play, because I know they're getting to where they're at. It's a very hard instrument to accept, because it takes years to start working with it, that's first, and it looks like everybody else is moving on the instrument but you. Then when you find a cat that's really playing, you always find that he's been playing a long time, you can't get around it.
I consider myself very lucky. God has a funny way of bringing some things around and knocking you in the head with the ultimate destination. Something I should have achieved quite easily took me a long time to get around to. It came in His time, not mine.
Picasso and Matisse were the guys I wanted to get away from, and cubism is all still lifes. Their paintings are all closed drawings. And still life is a perfect form for that. By the mid-'50s, I sort of dropped the still life. The large picture was a way of getting around them, too. The abstract expressionists were also into the large form because it was a way of getting around Matisse and Picasso. Picasso can't paint big paintings. Matisse didn't bother after a certain point.
One of the things I want ... all the kids here to remember, is that these [Major League Soccer] stars were not born superstar athletes ... Many of them started out just like many of you-playing on a team at school, or just kicking a ball around on the playground with their friends. But they stuck with it. And I tell this to my girls all the time. I mean, you get to the point when ... things you enjoy ... start getting hard-that's when you know you're getting good, and you have to stick through it.
I didn't quite understand the DVD thing and why my husband was mailing it back. I couldn't quite wrap my head around it. But now that I'm deeply in, as a watcher of content, what a brilliant business model. As a consumer, it's empowering to choose what I want to watch and when I want to watch it. I have three small children, so I need that flexibility, in order to really get into a show. And being on a Netflix show, it's perfect timing. I feel so grateful.
Suddenly fame came along and I started getting attention, and it was so foreign to me that it took a long time to get my head around it.
Not a frog, I hope?” he asked…She shook her head. “No. And if it was I wouldn’t kiss it, I promise you. I might kiss a prince if I could be sure he’d turn into a frog, but not the other way around.
I must admit, the only reason I joined an amateur dramatic society is because I couldn't get to kiss any girls - I was chasing girls all the time - and so I thought if I join it, there might be some love scenes. And there was a particular girl and I thought I might get to kiss Amy. I never did get to kiss Amy but I did get to kiss Elizabeth Taylor, so it was all right, a lot later.
If you're doing television, you get to be a character for a long time, and the cast around you becomes like family. You get attached to playing that one character, and it's hard leaving them behind.
It's so hard when you're young to look at older people and understand that they have been where you are. It's the weirdest thing. You just can't get your head around that, can you? You can't get your head around the fact that someone who is 60 was once 16, if you're 16. But the fact is they have been, and they remember it.
When people start writing there is this idea that you have to get everything right first time, every sentence has to be perfect, every paragraph has to be perfect, every chapter has to be perfect, but what you're doing is not any kind of public show, until you're ready for it.
If we have come up with a creative decision and somebody comes up with another idea, you do have to get into the depths of it and ask: "Is it a better idea? Or is it a different idea?" That can be hard. But that's the type of conversation the director and I will have, or as part of our creative groups. So with that in mind, it's hard to keep a budget in line. It's like in life, if you've ever built anything for the first time you're usually better at it the second time.
There's always music sitting around, but when you're cultivating music, the idea of getting into a studio and compressing it to get something out on time can be really good.
When I came to New York as a writer, I was taken with the idea that you're only getting in on bridges and ferries and through tunnels. The idea behind 'Takedown' is that it would be very hard to get out.
I have convictions: once an idea's in my head, it's very hard to get it out.
Just work. Don't wait. Everybody's waiting until they have the perfect idea to start working. Even if you have an inkling of what you want to do, start moving towards it. And it's going to flesh itself out through the process of moving towards the goal. And by the time you get to where you're going to be, it's not going to look anything like it did when you sat on the couch thinking about it. And if you wait until it's perfect in your head before you get of the couch and start working on it, that's never going to happen.
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