A Quote by Roger Zelazny
I got the idea for my novel 'Lord of Light' when I cut myself shaving just before I was to go on a panel at a convention. I had to go out there with this big gash in my face. I remember that I thought, 'I wish I could change bodies.'
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Perseverance. I got cut twice. I got cut in Charlotte. I didn't have to go to Atlanta to audition. I could have said, "I'm not cut out for this." But I said, "I think I'm better than that, I can go try again." So I went to Atlanta and I made it through. Then I got cut the first time around. I could have told them I didn't want to come back for the Wild Card show but I did and look how far I got.
In the case of my second film The Fish Child (El Niño Pez), I had written the novel about 5 years before I made into a film. In the case of The German Doctor I had published the novel a year before I started writing the script, I even had another project to shoot. But I had this idea of the powerful cinematic language from the novel that I couldn't let go of.
He opened the jar of pickles when no one else could. He was the only one in the house who wasn't afraid to go into the basement by himself. He cut himself shaving, but no one kissed it or got excited about it. It was understood when it rained, he got the car and brought it around to the door. When anyone was sick, he went out to get the prescription filled. He took lots of pictures... but he was never in them.
I feel like they would just be the funnest people. I wish I could have been friends with Michael Jackson, just because he had the most badass house of all time and I could just go out and go on amusement park rides and then he could teach me how to moonwalk.
I wish I could have lived just one day when the world was new. I wish—I wish I could have reaped just one single, solitary, big Emotion before the world had caught it and—appraised it—and taxed it—and licensed it—and staled it!
I had no idea of who could play it, no notion really. Then Richard came to see us but I don't think it was decided at that meeting. The trouble is, as soon as you've chosen somebody it obscures anybody else you might have thought of. It's like going to a place that you've never been to before - you've got a picture of it and then you go there and that picture is totally wiped out by the reality.
In fact, in the last job I had before coming to the White House - I remember this clearly - I was on maternity leave with Sasha, still trying to figure out what to do with my life, and I got a call for an interview for this position, a senior position at the hospitals. And I thought, okay, here we go. So I had to scramble to look for babysitting, and couldn't find one.
I had knockback after knockback before I got anywhere. After I got my first record deal I thought that was it, then Gut Records went into liquidation. I was 20. I had no idea what that meant. I had a few days to get myself out of that contract or my work would be owned by someone else.
In actor's career, I had a fair amount of denial, which I think is possibly in the genes, where I just couldn't go to, "Maybe this won't work out." I just couldn't do it. My mind just refused to go there. I don't mean there weren't low periods. There were plenty. But I remember arriving in New York and I was maybe 32, and I didn't have an agent. I came from Chicago, where I had gone to school and worked and got my sea legs, so to speak, and I remember walking out of the subway, walking the streets, standing in front of the theater and saying, "I will work in this theater."
When I was backstage at Comic-Con, about to go out and do the panel for Thor, and Joss Whedon ran up and introduced himself, I already almost passed out, right then. And then, he said, "I've been meaning to call you. You have a big part in The Avengers. Can we introduce you as part of the cast?" It was pretty Make-A-Wish Foundation. I was pretty sure I was dying and nobody had told me yet.
My goals were small. My goal was to become a big enough stand-up that I wouldn't have to do radio. I could sell out a club, which is like 300 seats. If I got big enough, I could sell before I got there, and I wouldn't have to get up at 6 in the morning to do radio. That was pretty much the dream. I had no idea I'd be playing Madison Square Garden or anything.
My idea was to go to Vienna to study conducting and perhaps play in an orchestra first, so I thought before I got to Vienna I could do with a little training in Paris.
One does not set out with the idea that I've just had a great idea and now I'm going to go and carry it out. Almost all art that's made like that doesn't go anywhere.
I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?
I always liked the idea of shaving the back of my head and getting a tattoo of my own face there so that, whichever way I was looking, I could freak people out.
I did not wish to take a cabin passage, but rather to go before the mast and on the deck of the world, for there I could best see the moonlight amid the mountains. I do not wish to go below now.
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