A Quote by Peter Mayhew
George has only got to ring me. His imagination is so wonderful, I'd do any character he might create.
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[Stephanie] 'You see, Mrs. Mayer was going on about George's lodge, and how he wanted to be buried with his ring, and so Grandma had to check the ring out, and in the process broke off one of George's fingers. Turns out the finger was wax. Somehow Kenny got into the mortuary this morning, left Spiro a note, and chopped off George's finger. And then while I was at the mall tonight with Mary Lou, Kenny threatened me in the shoe department. That must have been when he put the finger in my pocket.' [Morelli] 'Have you been drinking?
I thought Ring Of Honor didn't have any British guys. And I can come to Ring Of Honor and not only have they not seen anyone like me before, there's not anyone that can talk like me, wrestle like me, see my character is pretty unique, so that was important for me.
American Graffiti was the first movie where the director let me have any input. It was the first time anyone ever listened to me. George thought my character should have a crew cut, but I wasn't happy with that idea. I'd always had pretty long hair back then - in college, particularly - so I told George my character should wear a cowboy hat. George thought about it and he remembered a bunch of guys from Modesto, California, who cruised around, like my character, and wore cowboy hats, so it turned out that it actually fit the movie.
Never open your story with a character thinking, I advise my students. As a further precaution, don’t put a character in a room alone – create a friend, a bystander, a genie, for God’s sake, any sentient creature with whom your main character can converse, perhaps argue or, better yet, engage in some action. If a person is out and doing, it’s more likely that something interesting might happen to her or him. Shut up in a room with only his thoughts for company well, that way lies fictional disaster.
When George Bush Senior [George HW Bush] was getting his alliance together to go into Iraq - to kick the Iraqis out of Kuwait - he rang me up. I was very close to George Bush Senior; I got to know him well as Vice President to Ronald Reagan. And George rang me up and said, "Oh, Bob," he said, "I'm having trouble with Brian [Mulroney]." He said, "He's got a big wheat trade with Iraq, and he doesn't want to upset that." I said, "You leave it with me."
Some might think that George W. Bush had his shortcomings, but let me tell you something - history's going to be kind to George W. Bush.
The artist's imagination may wander far from nature. But as long as it is a living, moving power in his brain, isn't it just as real as any other natural phenomenon? The artist justifies his existence only when he can transform his imagination into truth.
Perhaps this is our strange and haunting paradox here in America -- that we are fixed and certain only when we are in movement. At any rate, that is how it seemed to young George Webber, who was never so assured of his purpose as when he was going somewhere on a train. And he never had the sense of home so much as when he felt that he was going there. It was only when he got there that his homelessness began.
The power of imagination is the ultimate creative power.. no doubt about that. While knowledge defines all we currently know and understand.. imagination points to all we might yet discover and create. Imagination is more important than knowledge. Your imagination is your preview of life's coming attractions
I got a phone call from George Miller [the director] asking me to play this role. We sat down and he showed me on his computer a documentary-type montage sequence of real penguins swimming, in an Esther Williams synchronized sort of way, and doing things I have never seen them do. Then he explained his vision of the film, asked me to read the script and to voice the character. I was cast a little bit later, and he let me do the singing as well!
For although a man is judged by his actions, by what he has said and done, a man judges himself by what he is willing to do, by what he might have said, or might have done—a judgment that is necessarily hampered, not only by the scope and limits of his imagination, but by the ever-changing measure of his doubt and self-esteem.
What excited me about Ring Of Honor, again, was that promotion is based, for the most part, on in-ring action. And I felt like I, as this character, I feel like it has so much potential to do some really great things and touch people more than any pro wrestling match could.
When I first got my ring name as Carmella, I knew I was just going to do whatever I could to create this over-ridiculous, over-the-top character that would just help me get my face, and I don't even know what I'm trying to say, but just get me out there and just show, like, 'OK, wow, we need to pay attention to this girl because she has something.'
That's what we do in the WWE: we tell stories; we're characters. We go into the ring, and my character is telling a story in the ring against another character.
The playwright, along with any writer, composer, painter in this society, has got to have a terribly private view of his own value, of his own work. He's got to listen to his own voice primarily. He's got to watch out for fads, for what might be called the critical aesthetics.
We got in the ring and wrestled almost every night and didn't have many days off... The only thing I knew for certain when I got in the ring was exactly how I went in. We told a story and the match was the story.
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