A Quote by Rupert Holmes

I first had the thought about making a musical of 'Edwin Drood' as far back as 1971. — © Rupert Holmes
I first had the thought about making a musical of 'Edwin Drood' as far back as 1971.
As much as the mystery element is all a lot of fun, when you do go to 'Edwin Drood,' you're going to a theatre to see a show about going to a theatre and what that relationship between actors and audiences has been for years.
Full of fun, over-the-top characters and witty prose, with a touch of gay romance that is equally pleasing to straight readers. The Edwin Drood Murders is the perfect mystery for educated, intelligent readers.
I think when I first realized that something interesting had happened was probably in 1994. There was a 25th anniversary of the ARPANET celebration and... somebody asked the question, 'Where did email come from?' I remembered that I had done this little program back in 1971. People looked back and nobody could find anything that predated it.
Dickens's final book, 'The Mystery of Edwin Drood,' forms the jumping-off point for my new novel, 'The Last Dickens'. This last work by Dickens has very little social commentary and a pretty tightly efficient storyline and cast of characters. Not necessarily what we think of when we think what characterizes Dickens.
When Nickelodeon, in 2009, told us they wanted us to come back and do another series where we could do whatever we wanted, the first thought we had was: Let's do a story about the next 'Avatar.' That was the first thought. The second thought was: Let's make it a girl.
I had an interesting moment with 'Wonder Woman' where, when I first thought about doing 'Wonder Woman 2,' I thought, 'Well, these are so intense, making these movies. It's a lot to think about doing more.' But then I had an epiphany, and I thought, 'Oh, it's not more - it's better.'
I'm not in "Bend and Snap." But, I will say that when I first heard they were making Legally Blonde into a musical, I thought, Well, of course, there's going to be a bend and snap number, because it's just, I think, one of the most natural moments in the movie to expand into a musical number.
What is applicable is to understand that first of all China has undergone a huge revolution in the last years. Anyone who saw China as I did in 1971 - and for that matter even in 1979, because not much had changed between 1971 and 1979 - and sees China today, knows one is in a different economic system.
School was pretty good about letting me take up music and that's where I had my first musical ideas and first said, 'Yeah, I'm going to be a musician.' I just had to do a quick stop gap in the army first.
I became a councillor back in 1971, so if by this stage in politics I'm making lots of big mistakes, then I shouldn't be here.
My feeling about young people who want to pursue a career is - the first thing is do your homework on where it all started. Go back and look at history. Look at why the shows you are loving today happened and the artists you are listening to happened. And do your homework on history. Whether it's musical movies, musical plays, Broadway musical recordings - do your homework! And then, that way you will have an understanding of why, now, certain movies, certain plays, certain musicals are making some sort of sense.
For my first race, when I was 19, I'd bought a 600cc bike. And that was far too big for me, really. I shouldn't have really had something like that. But anyway, I went and raced, and I crashed. In my very first race! But I never gave in. I kept going back and back and back.
I was very proud and grateful to be the first African-American woman in the position. I thought it said a lot about our country that we had back-to-back African-American Secretaries of State, Colin Powell and then me. I also thought it said a lot about President Bush that he didn't see limits on the highest ranking diplomat in terms of color. It's a hard job, but really the best one in government.
During the entire process of making this film I never thought about whom I was making it for. I always thought that the film was for me, but I didn't think of any of that. I just did what I thought I had to do. I didn't think, "This is what children are going to think" or "This is what adults will understand."
Eddie Drood: Is this why we become agents? To play games, to chase after secrets that are rarely worth all the blood spilled on their behalf...To end up stabbed in the back, just when you thought you'd won, bleeding out in some nameless backstreet...With most people never even knowing who you were, or what you did, or why it mattered?
The first time I remember going to Nashville was in 1971 back when 'Snowbird' was a hit and I performed at the Grand Ole Opry.
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