A Quote by Tony Robinson
It's not that I think every late 19th-century man with a beard who saw something shimmering in front of him was actually seeing his dead aunty. What I'm saying is: lighten up. This isn't weird stuff. It's interesting.
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One of the interesting things I discovered is that in the late 19th century, painters actually had black-and-white copies made of their own paintings. They chose it even over photographs because they knew the photographic medium would distort their work.
Keeping the cat front-and-center was definitely a smart choice, from Tim and the animation department. Mr. Whiskers got referred to more than we actually saw him on stage. Seeing him on screen, you just love him.
One of things about beards is that, when men reach a certain age, they'd like to see if they can grow one. It's a phenomenon I understand very well. After you get over the itchy face, you go, "Oh, I don't have to shave, that's cool." And then you move into the philosophical thing- people say, "You look weird, you have a beard." And you say, "No, actually, it's weird to shave." Having a beard is natural. When you think about it, shaving it off is quite weird.
In the 19th and 20th centuries we saw nature as something to use to our profit, but the attitude of man towards nature in the 21st century will be a bit different.
Just look at herbal remedies. It's essentially a throwback. It's saying you go to a plant and you mush it up and you stick it in the jar and you sell it and you eat it and it's going to cure what ails you. And that's the kind of stuff that people believed in the early 19th century.
We first got marijuana from an older drummer with another group in Liverpool. We didn't actually try it until after we'd been to Hamburg. I remember we smoked it in the band room in a gig in Southport and we all learnt to do the Twist that night, which was popular at the time. We were all seeing if we could do it. Everybody was saying, 'This stuff isn't doing anything.' It was like that old joke where a party is going on and two hippies are up floating on the ceiling, and one is saying to the other, 'This stuff doesn't work, man.'
People have asked me about the 19th century and how I knew so much about it. And the fact is I really grew up in the 19th century, because North Carolina in the 1950s, the early years of my childhood, was exactly synchronous with North Carolina in the 1850s. And I used every scrap of knowledge that I had.
The 19th century Mormons, including some of my ancestors, were not eager to practice plural marriage. They followed the example of Brigham Young, who expressed his profound negative feelings when he first had this principle revealed to him. The Mormons of the 19th century who practiced plural marriage, male and female, did so because they felt it was a duty put upon them by God.
Late 19th-century populists saw bankers and industrialists manipulating markets to enrich themselves at the expense of small farmers and labourers and favoured political candidates promising economic relief through free and unlimited coinage of silver.
I actually saw 'Piranha 3DD' - God, it's so weird saying that - and it's actually really surprising. It's really good. It's funny; it's fun. And you actually want more when you see it.
A beard is something that is almost like a mirror to the viewer. When someone sees you wearing a beard, they're seeing something in their own imagination because it's still me whether I'm bearded or not.
It's easy to make up weird stuff. It gets trickier when you want the weird stuff to be interesting and make sense.
One layer was certainly 17th century. The 18th century in him is obvious. There was the 19th century, and a large slice, of course, of the 20th century; and another, curious layer which may possibly have been the 21st.
What actually happened with 'Miracle' was that someone saw me in 'Jurassic Park' and said, 'We want someone with a white beard - how about him?' I've got a round face, white hair, a white beard. I can wear half-moon glasses and waddle a little, cope with a cane, raise my hat.
Every time I'm in the studio, I always think of my professor in undergrad. He was like, "There are so many artists in the world. If you're going to be an artist, make sure you have something to say. Don't just be an artist and put out bullshit. Have something to say." I guess that would be my philosophy and something I think about all the time. Every day when I'm in the studio I hear him and I see him. I remember him saying it in class. So that's something that I always want to make sure I have: I'm saying something with the work.
Though I was standing in front of a mirror, I wasn't really seeing my reflection. I was seeing, very clearly, that—at the moment—I was all in the world that Eric could think of as his own. I had better not fail him.
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