A Quote by Tommy Rettig

I was totally devastated for four years in the mid '60s when l tried to buck the tide. — © Tommy Rettig
I was totally devastated for four years in the mid '60s when l tried to buck the tide.
I have all these computers and keyboards and synthesizers, and I rattle away. For instance, with The Lion King I wrote over four hours worth of tunes, and they were really pretty -but totally meaningless. So in the end I came up with material I liked. We worked on The Lion King for four years, but I wasn't toying until the last three-and-a-half weeks properly. On Crimson Tide, on the other hand, I just went in and within seconds I knew what I wanted.
I never really felt at home with that - the headbands, the roses, the feet, the peace sign, all that bollocks. That wasn't me at all; I felt like a fish totally out of water during the mid-'60s thing.
When I was a kid, like four or five years old, I was obsessed with the 'Batman' TV show in the '60s. And I took it totally seriously. At that age, I took it completely seriously. I didn't get the fact that it was kind of played for laughs. I didn't understand why my mom was rolling her eyes or chuckling.
In the mid- to late '60s to the mid-'70s, when I was a student, there was a major change in the thinking about what art can be and how art is made.
A country that cannot feed itself cannot have self-pride, and in the mid-'60s 20 percent of all the wheat produced in America came into India. We were agriculturally a basket case. And 15 years later, 20 years later, we have become an agricultural power. This is the famous Green Revolution.
When I started my goal was to make a successful underground movie. I started making movies in the mid-60s. Underground cinema then only lasted about two or three years.
I did go to Beijing, with a two-year assignment. I stayed four years. And those four years were the most formative four years in my life. What I learned was more than I would have learned in 10 years in America or Europe, and I wouldn't trade it for anything.
The tide rises, the tide falls, The twilight darkens, the curlew calls; The little waves, with their soft, white hands, Efface the footprints in the sands, And the tide rises, the tide falls.
The person who takes the oath of office in the next four months will shape not just the next four years, but the next forty years of our nation. In these next four years, we need proven leadership, proven judgment and proven values. America needs four more years of President Barack Obama.
With Moloko, we tried to be the opposite of what was out there at the time. I like to be different. In the mid-Nineties, music was quite dour and serious, and everything was dressed down. So we went the other way. Our first record was about not wanting to do four-to-the-floor dance music.
I would love a big family. I have this vision in my mind where I have four or five children, and then, when I'm in my 60s, it's Christmas, and all my kids come home with their spouses and lots of grandchildren. By the end of it, there are 40 to 50 people in my house, and I look around, feeling totally happy, surrounded by my family.
Everyone wanted to play like Eric Clapton in the early to mid-'60s.
I was an avid reader as a child because we didn't have television in Ireland until the mid-'60s.
My parents came to San Francisco when they were probably 19 or 20, in the mid-'60s.
When I was four years old I watched the movie every day. I was totally obsessed.
Raphael painted, Luther preached, Corneille wrote, and Milton sang; and through it all, for four hundred years, the dark captives wound to the sea amid the bleaching bones of the dead: for four hundred years the sharks followed the scurrying ships; for four hundred years America was strewn with the living and dying millions of a transplanted race; for four hundred years Ethiopia stretched forth her hands unto God.
This site uses cookies to ensure you get the best experience. More info...
Got it!