A Quote by Terry O'Quinn
I know 'Lost' used to drive people mad trying to anticipate what was happening or what something meant.
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When you don't know your values or who you are or you start to believe things other people are telling you, you get lost. I was just lost because I didn't know what I meant to music or what music meant to me. Now I just belong solo and I belong by myself.
I drive a lot. Just for pleasure. Sometimes I'll get in the Cadillac and drive around the city or the country, kind of trying to get lost basically. Y'know, just see where roads lead.
Like most terms of political discourse, socialism has more or less, lost its meaning. Socialism used to mean something. If you go back far enough it meant basically control of production by producers, elimination of wage labor, democratization of all spheres of life; production, commerce, education, media, workers control of factories, community control of communities, and so on. That was socialism once. But it hasn't meant that for a hundred years. Socialism meant something different.
I just had somebody tell me, "You know, Rush, why the Republicans are so mad at you is because you're not carrying their water anymore. You know, they jealous. They look over at the Drive-By Media and they see the Drive-By Media totally fronting and carrying the water for the Democrats, and they think you used to be on their side. But now you don't carry their water anymore, and that's why they're throwing down on you," and I guess that makes sense. I hadn't considered that as a possibility.
I'm sure I've all but lost friends by maintaining that, despite their love for it, I always saw Stanley Kramer's 'It's a Mad, Mad, Mad, Mad World' as more of an exercise in anti-comedy than humor.
Far more money has been lost by investors preparing for corrections, or trying to anticipate corrections, than has been lost in corrections themselves.
People call me the human emoji because I think people recognize that if I'm ever thinking something or feeling a certain emotion, it goes straight to my face. So if I'm happy, you'll know I'm happy, and if I'm mad, you'll know I'm mad just by looking at me.
It's no fun to be yellow. Maybe I'm not all yellow. I don't know. I think maybe I'm just partly yellow and partly the type that doesn't give much of a damn if they lose their gloves. One of my troubles is, I never care too much when I lose something - it used to drive mother crazy when I was a kid. Some guys spend days looking for something they've lost. I never seem to have anything that if I lost it I'd care too much. Maybe that's why I'm partly yellow. It's no excuse, though. It really isn't. What you should be is not yellow at all.
When we started Nowhere, maybe the fashion industry recognized something was happening, but they just thought, Oh, those kids . . . whatever. They didn't know what was actually going on with us. Now we are those people in a sense - the current establishment. So I hope there's something happening that is new and independent that we know nothing about.
Before I created Christine, I was actually really girly. Maybe I was trying to hide something, but I was trying too hard to be a girl, and I didn't know what it meant. I was afraid of being myself.
Walter Benjamin talks about art losing its original "aura" in an age of mechanical reproduction. In writing memoir, we're taking something that happened in a particular moment and meant something at that time, and we're trying to capture it to mass reproduce it for readers. So of course something is lost. And when we edit that material, we're getting even further from that aura, but toward something else that is potentially vital.
In Britain, we haven't got enough money to make these long-running shows. We always do little mini ones. You have more control as an actor over what you want to do with it. On these you drive yourself mad trying to know what's going to happen, because the writers don't.
WKRP [showed] something happening between people-there was something underneath about people trying to help each other out.
Artists react to tragedy by doing something both as a way for us as artists to process our pain and our grief and our loss and as a way to give something back and memorialize people that are lost. That always makes it far harder to compartmentalize things. As a species, should never get used to tragedy and we should do everything we can to prevent it from happening and to celebrate people loving people. We should all be lucky enough to be loved and to love someone in return. That's what this is about.
It's always nice to anticipate working in something that you know people will have an appetite for.
Remember that everyone you meet is afraid of something, loves something and has lost something. People take different roads seeking fulfillment and happiness. Just because they're not on your road doesn't mean they've gotten lost. If you know someone who tries to drown their sorrows, you might tell them sorrows know how to swim.
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