A Quote by Roger Allam
I remember as a student going to Covent Garden, where they took out the stall seats and you hunkered down on the floor - I heard Pavarotti in Tosca there, and the experience of being in that same room with that astonishing voice has never left me.
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I've heard the sound of 70 condoms being scraped over the floor at the British Museum. It feels like being an adventurer. Why would you stay in your living room if you could go out and experience things no one's ever experienced?
I remember Pavarotti telling me, 'Oh, Neil, after seventy, the voice is going to go.' But I've been lucky. You almost have to learn how to sing all over again. You use your diaphragm more. You have to choose the notes and pace yourself.
I remember being young and people passing me things under the bathroom to sign, like under the stall. Like adults. We were shooting at Disney World, and my mom went with me to the bathroom, and an adult woman came in and under the stall was like, "Can you sign this?" And I remember my mom being like, "Have you lost your mind? What is wrong with you? You don't do that! She is a child and you don't do that to anyone!" Who thinks that is a good idea? Someone.
My parents said that I was nine months old and would throw myself out of the crib onto the floor continually. As soon as they left the room after putting me back in they'd hear a big bump and I'd be on the floor again.
After being signed by WWE, Edge, Christian, Mark Henry, Giant Silva, Test and Ken Shamrock all trained at my house. I had a pool room with an indoor pool and a garden behind it. I took out the garden and put in a wrestling ring.
I got my first job the old-fashioned way: I took an elevator to the top floor of many buildings and walked down floor by floor on the stairs going into every firm and asking the receptionist if she knew of any jobs available.
There is a timbre of voice that comes from not being heard and knowing / you are not being heard / noticed only by others / not heard for the same reason.
We played Carnegie Hall, and that was one time where I felt... Carnegie Hall as a legendary, very venerable place to perform. I'd never heard of anyone going into the Hall and kind of standing on the seats and playing throughout the aisles and having the audience stand on the seats. So when we did that in 2013, even for me it was a shock.
I think most of us, as writers, have had experiences where you get edited and it doesn't feel like your voice at all. And so it's been nice to go through the experience of having a lot wind up on the cutting-room floor, and yet still feel that your voice is being - not purified, but made more yourself. I think that's a very rare thing.
I loved being in London. Always walking everywhere, always out and about and always at markets, walking around Brick Lane and Covent Garden and Soho.
I have a voice inside. A voice that I am forever trying to silence. A voice that calls me in when I want to be out, playing. A voice that is always sad. That is always terrified. That always wants to sit in the darkened room, away from noise and movement and colour - away from any experience that could prove to be challenging.
What makes me unique is my ability to adapt to different situations and switch onto smaller guards and stay out there. Another component to being out there on the floor - and this is something that I learned as my college career went on - was staying on the floor, literally, comes down to not picking up fouls.
I instantly took the offer to judge 'Indian Idol' because I know the journey from being judged to judging on the same stage is going to be a memorable experience for me.
It's as if my left heel is my bass drum and my right heel is the floor tom-tom. I can get snare out of my right toe by not putting it down on the floor hard, and, if I want cymbals, I land flat on both feet, full strength on the floor.
When you left on Saturday, I felt a horrible void, I saw you everywhere, on the beach, in your room, in the garden: impossible for me to get used to the idea that you had left.
If you heard your lover scream in the next room and you ran in and saw his pinkie on the floor, in a small puddle of blood. You wouldn't rush to the pinkie and say, 'Darling, are you OK? ' No, you'd wrap your arms around his shoulders and worry about the pinkie later. The same holds true if you heard the scream, ran in and saw his hand or -god forbid- his whole arm. But suppose you hear your lover scream in the next room, and you run in and his head is on the floor next to his body. Which do you rush to and comfort first?
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