A Quote by Tom Stoppard
Schepisi is the sort of director who could, would, and frequently did phone me whenever he came across a textual problem.
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I am totally amazed at the spread of interest in meditation. When I first came back from studying in India in 1974, I would be asked in social situations what I did. When I replied, "I teach meditation" they would frequently look at me as though to say "That is weird," and sort of sidle away.
The switch had two settings. You could either turn it to AUTO, in which case the awning lowered itself whenever the sun came out, or you could set it to MANUEL [sic], in which case, we assumed, a small, incompetent Spanish waiter came and did it for you.
You could call me on the phone and say, 'Someone blew up your entire house, Mike.' If it's not a person involved, I would sort of blink, whatever. That's all replaceable, right?
The movie that we could've finished in 2001 would've sucked. The movie that we could've finished in 2002 would've just been a disaster, even into 2003, it would've been very cobbled together, amateuristic stuff. But as we went along, we really did stumble upon some accidental themes, and with the things you could do with computers, and all that sort of stuff just sort of really accelerated into where the stuff that we could do right here at my house became - you could almost do anything.
I think people got in touch with me either knowing my work, or probably more frequently just knowing a plot or sort of buzz about something I did and sort of saying, "Get that guy that writes the crazy stuff in here."
The best thing that could've happened to me was that I learned a lot in Vegas, but I didn't know how to implement it. Whenever I came to Texas, all we had was Marc Laimon, jiu-jitsu coach. We didn't have a striking coach. So me and him started to just develop our own game, because he knows nothing about striking. We sat down and we sort of found my style. I think that was the best thing that could've happened to me.
I did so many interviews and auditions for films, and it was just zilch. Nothing I did impressed anybody! I could just feel it. It was always, 'Okay, thank you, Mr. Lloyd.' Then, out of the blue, 'Cuckoo's Nest' came to cast. A casting director who sent me up for different things over the years sent me up for that, and it just clicked.
I thought if only I had a keen, shapely bone structure to my face or could discuss politics shrewdly or was a famous writer Constantin might find me interesting enough to sleep with. And then I wondered if as soon as he came to like me he would sink into ordinariness, and if as soon as he came to love me I would find fault, the way I did with Buddy Willard and the boys before him.
The principal problem is that textual data and material remains are often incomplete and sometimes lack adequate context, in order to know precisely how they correlate. Sometimes all we can say is that the textual data and the material remains are probably related but how exactly can't be said until additional discoveries are made.
As I ran for president, I hoped that one child would come out of the ghetto like I did, could look at me walk across the stage with governors and senators and know they didn't have to be a drug dealer, they didn't have to be a hoodlum, they didn't have to be a gangster. They could stand up from a broken home, on welfare, and they could run for president of the United States.
The very first picture that I did, the director came up to me on the street - I was 14 at the time - and asked me if I would be in a short film that he was doing called 'Pigen og Skoene,' which means 'The Girl with the Shoes,' which is a funny title but that is how it is.
At any given moment, if I see my bully, the guy who's trying to conquer me, we're going to find out. And if we could fight every time we came across each other, we would.
I remember being 24 in Los Angeles. And up until that moment, when my mom would call my cell phone and it would ring, I would be flushed with some sort of excitement that we all have - a little dopamine rush, when my phone rings - and I'd look down, and it would say, 'Mom.' It used to feel like a job to pick that up.
The expression I use: Pain + Reality = Progress. Whenever I would have a painful mistake, I started to view that as puzzles that would give me gems if I could solve the puzzle. So, it made me thoughtful - what should I do differently next time? That was the puzzle. And the gem was some principle for handling the same thing when it came along again, and then I would write it down. And by writing it down and referring to it, and also being able to show it to other people so that we could agree that that was a good way of handling that thing - that was very, very powerful.
We never had any problem from them. Jyoti Basu has been very kind to us. He was the one who told me "Mother, please do something for these (jail) girls. He has been helpful and always accessible to us over phone. We also never had any problem whenever we wanted to meet him.
I did a show in Germany, and some kid - he was disabled - he was actually in a wheelchair, and he came out to my show, and he couldn't get across to me what he was trying to say, and you could see that he was frustrated because he couldn't fully express himself, and I just felt like, 'Wow, he's just really passionate about me.'
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