A Quote by Tim Daly
I've had - I don't really know how to describe them, except moments of 'extrasensory perception' of some sort. I've also had sort of a 'white light' moment.
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It was very romantic. It's all in the song, The Ballad of John and Yoko. If you want to know how it happened, it's in there. Gibraltar was like a little sunny dream. I couldn't find a white suit -? I had sort of off-white corduroy trousers and a white jacket. Yoko had all white on.
Being a straight white guy in his, like, early twenties - there's some sort of thing about it. A sort of privilege, a sort of anger or something. You just say some really stupid things.
I've definitely had some tough schoots. I'd say everything that I've done has had some sort of challenge that I've had to overcome. But it's the most satisfying feeling once you have and that's what I love about acting, sort of signing on to it knowing that it's going to be challenging.
You know, I think I did originally have some sort of idea of maybe a Where Eagles Dare kind of mission against impossible odds, but it really sort of died before I had a chance to really go anywhere with it, and then just doing the book was out of the question.
I was at the New York Film Critics Circle Awards one year - they called me up when somebody canceled two days before the thing, and asked me to present some awards. So I went, and one of the funniest film moments I've ever had was when they introduced the New York film critics. They all stood up - motley isn't the word for that group. Everybody had some sort of vision problem, some sort of damage - I had to bury myself in my napkin.
I went looking for some preliminary information, and very quickly was struck by the sort of way the surface-level knowledge about Zelda doesn't begin to describe the person that she really is. You know, I had come to the project with the idea that she was, you know, just F. Scott Fitzgerald's crazy, disruptive wife.
How do you have a think in pictures? Well, you have to sort the pictures into categories. You know, for example, a dog knows that, you know, there's good people and there's bad people. And I talked to a lady the other day where her dog was afraid of people with white beards because she had adopted him from an animal shelter and somebody with a white beard had abused him. And this dog was now afraid of everybody that had a white beard. That was the bad category.
To know that these are people who for a moment, in glory, in light, were true warriors, and you had the chance to associate with them, to live with them, to share with them, words and moments of power - this is the nature of spiritual study.
I always find out after the fact that the books I've been writing were actually some sort of therapy, some sort of, you know, self-examination that I had to write the book in order to complete.
I had a house burn down once, and everything in life burned except my family, and it was so liberating. I didn't have a bad moment about it. It sort of reinvigorated my interest in a lot of things. I wonder if there should be some kind of anarchy.
And then there's also this element of - some people would describe it as spirits or a presence that appears when things are very difficult, physically and emotionally. You know, when you're really putting out. So the third man aura is sort of an appearance. It's the yeti.
It was the 1950s, you know, and they had a ray gun, which was basically a flashlight with a sort of trigger on it. And it buzzed and a red light, you know, came on. But anyway we all had one - Davy Crockett hat.
John Cheever was the first writer I ever read who sort of had that similar sensation that, you know, life is nasty, miserable, brutish and short, but that occasionally, there's a certain river of light, a kind word, a telling gesture that sort of illuminates something.
Not gray, exactly. Right before the sun rises there's a moment when the whole sky goes this pale nothing color-not really gray but sort of, or sort of white, and I've always really liked it because it reminds me of waiting for something good to happen.
Even before I wrote any songs, I had this idea of a triangle where the voice was at the top, some sort of guitar element on one side, and then some sort of really basic rhythm on the other side. That's where I started from in the recording process.
We focus on that really repulsive minority of racists. But then there's a continuum that goes all the way to, you know, what used to be called the white backlash or to, you know, the feelings of some white people that they're losing out and that the jobs and power and sort of the culture is drifting away from them and toward people who don't look like them, who don't - who they don't know very well. And that's not necessarily - I don't equate that with the hardcore ideological hatred of self-identified racists.
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