A Quote by Stephen Henderson

I had the great fortune to work with John Houseman at Juilliard. — © Stephen Henderson
I had the great fortune to work with John Houseman at Juilliard.
I met Patricia Neal, John Houseman. But I loved my grandfather because he was this kind, talented man.
Fortunately, John Houseman is a marvelous writer and he sat in on so many story conferences. He worked with Welles, you know, and he's a marvelous man.
I've had this unbelievable amount of good fortune and I'm just so thankful for it. But at the same time I feel exceptionally guilty. I have so many friends who are talented graduates of Juilliard and are exceptional actors and I'm the lucky one that somehow got such a fortunate break.
I wasn't a dancer learning to play Baby Houseman. I was Baby Houseman learning to play a dancer. I was someone who'd never done any Latin dance. I'd taken jazz classes and ballet growing up in New York, so I had dance in me, and I knew I loved it, but I'd never done a dance audition.
I had the good fortune of living in Rome for seven years, from 1994 to 2001. So, I kind of saw firsthand the impact that Pope John Paul II had on people.
When you work for Bruckheimer, you don't get it any better. He's the ultimate producer. I've had the good fortune of working with some great producers over the years.
John Carmack, who has become interested in focusing on things other than game development at id, has resigned from the studio. John’s work on id Tech 5 and the technology for the current development work at id is complete, and his departure will not affect any current projects. We are fortunate to have a brilliant group of programmers at id who worked with John and will carry on id’s tradition of making great games with cutting-edge technology. As colleagues of John for many years, we wish him well.
I think my best work has been in France with great men. It's been my great fortune to work with really great men - with Olivier Assayas, Raoul Ruiz, Jacques Rivette. I am tutored by them.
I had such a good time working with John Woo and John Travolta, and it was so professional. I want to work with people who are real professionals.
I had the great good fortune of working with Christopher Plummer, Frances Sternhagen, and Arthur Hill early in my career, and it set a standard for the kind of work I want to do.
I arrived at Princeton as a graduate student from the University of Manitoba in 1958. To my great good fortune, I fell into work with Bob Dicke, a truly great physicist who decided a few years before that that gravity is too important to ignore, as it had been in recent years in physics.
John Cena's match with me, the one that kind of got him hired with WWE, I remember they were there to look at John, obviously. He looked great - he was like the blue-chipper - and John was a good friend of mine, so I had no problem whatsoever helping him kind of highlight and do his thing.
I think the seed was planted when I was a teenager, and it took me until I got out of Juilliard. At Juilliard I was just learning to be a composer, but I was also learning how to manipulate computers.
Of course the Neverlands vary a good deal. John's, for instance, had a lagoon with flamingos flying over it at which John was shooting, while Michael, who was very small, had a flamingo with lagoons flying over it. John lived in a boat turned upside down on the sands, Michael in a wigwam, Wendy in a house of leaves deftly sewn together. John had no friends, Michael had friends at night, Wendy had a pet wolf forsaken by its parents.
During my childhood, I played just about every sport imaginable, which became less feasible at Juilliard... Although I remember our annual dodge-ball game as a highlight. The Juilliard 'Fighting Penguins' are a force to be reckoned with.
There can be no doubt that probability increases with practice. Fortune favours the brave, fortune favours the prepared mind, and fortune favours those who work the hardest.
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