A Quote by Steven Price
I'm a guitarist by background. That's what I used to do for sessions when I was younger and that sort of thing. We have several pianos in the house and I tend to just sit and fiddle around.
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It's horrible for someone to listen to someone learning any instrument - when I was first learning the banjo, I used to have to go out and sit in the car, and even in the summertime I'd have to roll up the windows. Because you just couldn't practice a banjo or a fiddle with other people around. Unless they're being paid.
Because of the nature of my background in modeling, I'm really used to using the best products around. And I just wanted to offer the same sort of high quality products to my customers. I think they deserve it.
In the house of a Fidler, all fiddle.
[In the house of the fiddler all fiddle.]
I do speak my mind a lot more than when I was younger. I guess that's just my Polynesian background. That's how we are: just sit back and try and fit in, try and make everyone else happy.
I remember thinking when I was younger - we used to take holidays to Spain and France, and I just thought I was never going to get further than Spain or France. I really didn't when I was younger. And then I started auditioning for 'Narnia,' and the first thing when I got the part was go straight to New Zealand, halfway around the world.
What I absolutely can't do is just sit around, that drives me crazy. I go nuts! I'm far too nervous, too high strung to sit around. It's not my thing; I can't deal with it!
There tends to be a sort of mundane quality to what I select - things from around the house, around the studio. I'm not ashamed of the craft shop - the art supply store - and I don't need my work to be anti-art store, but I also believe in using things that are just sort of around - it makes sense to me.
The feather was a thing, when I was a kid, we used to find feathers around the house, and whenever we found them, my mum used to say it was my nan leaving them around for us to find, so that was quite sweet.
When I used to work my 9 to 5, I used to go to this abandoned house down the street. It was for sale, but nobody knew it. It was a mansion. Every day, or at least four days out the week, I would just stand on the porch of the house for like a year straight. That was around 2001 or 2002.
Here's the thing: I come from a filmmaking background, so this concept of sort of overseeing a television show but not directing was, in general, not weird, but I had to get used to what that felt like. My initial instinct was, 'I want to direct as much of this as possible.' But the logistics of making of TV, that's just not possible.
I used to love Andre The Giant. I could sit around all day and listen to Andre stories. He was such a wonderful, unique guy who everyone loved being around. The thing about Andre, he just had this magical mystique about him.
I don't just sit around and play 'Africa' in my house.
I know great songwriters. Fred Neil would come up when he was in L.A., we all used to hang out. He would sit there and sing, and we would just melt. I mean, we would go to his recording sessions.
Lots of the bands [in New Orleans] couldn't read too much music. So they used a fiddle to play the lead - a fiddle player could read - and that was to give them some protection.
I worked with an amazing dialect coach named Jill McCullough. We did Skype sessions while I was shooting "No Escape" in Thailand, actually. So three times a week I would have long, two-hour sessions with her just working on the nuance of the accent, which I had had a huge background in because I went to drama school in England for four years.
I really wanted to find a piano for the farm house. There were so many free pianos on Craigslist, I thought, 'Let's get as many free pianos as we can and stick them all in the barn.' I got eight in a short period of time, only six of which were tunable, but it's still quite funny.
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