A Quote by Tyrell Biggs
How did I get hooked? Well, it's something like you journalists having a drink after work
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I think I enjoy regressing. There's a part of living like that that's really fun. It's like there's no consequences: If you want to drink, you drink; if you're hungover the next day and you're late to work, who cares? There's something very appealing about having no accountability in life, but it's just not a way that I had the energy to live forever.
I get bored with things easily. I always have to change something to keep myself excited. When I feel like I did a really good classical and acoustic album, the next thing I want to do is the opposite. And then I want to do the opposite of that. When I work alone after that, I feel like I should work with a lot of people. When I work with a lot of people after that, I feel that I should work alone.
That's what I think people sense when they get hooked by surfing - hooked by their relationship with the ocean. All of a sudden, they're part of something that's bigger than them.
I think one of the things that I was struck by was that Joe has the financial wherewithal to go check into some expensive clinic, go into rehab and beat these addictions but he didn't. He sort of designed his own, you know, sort of rehabilitation at home. And anybody could do what he did. When he felt like having a cigarette after he ate, he would get up and walk. At cocktail hour when he used to have a drink and watch the news, he stopped watching the news. He couldn't. He couldn't watch the news and not have a drink and a cigarette. He would walk.
I don't get really inspired the way some people do, buzzing with ideas - it feels like hard work to me... but once I get hooked into the universe of a particular work it becomes almost like an aesthetic addiction.
One thing I did inject was a different work ethic: Guys, no, we don't rehearse once or twice a month, we rehearse every day after work and on weekends, and that's how we're gonna get better. And everybody adopted that work ethic, and it did pay off.
I could be dead or something even more tragic could have happened, but by God's grace I am still alive. I was hooked on Crystal Meth for eight years and did it every single day, all day long. I honestly have no idea how my heart survived or how I didn't suffer multiple overdoses, I don't get it.
The hardest part was getting the window net hooked back. I didn't think I was ever going to get it hooked. I finally got it hooked. If I'd known that I wouldn't have tried to hook it.
Did you ever drink so much of a certain type of alcohol that you get so sick that you can never drink the same kind again ? I've decided that's how I'm going to quit drinking. One-at-a-time.
I remember having a discussion at some stage and saying a coffee machine would do well in the training ground. Everyone was like, 'No, in England, we drink tea.' I was like, 'OK, I was just saying that I think coffee works as well.' Next thing you know, after the international break, we had this massive coffee machine come in from Nespresso.
I think bullfights are for men who aren't very brave and wish they were. If you saw one you'll know what I mean. Remember after all the cape work when the bull tries to kill something that isn't there? Remember how he gets confused and uneasy, sometimes just stands and looks for an answer? Well, then they have to give him a horse or his heart will break. He has to get his horns into something solid or his spirit dies. Well, I'm that horse. And that's the kind of men I get, confused and puzzled. If they can get a horn into me, that's a little triumph.
A newspaper, as I'm sure you know, is a collection of supposedly true stories written down by writers who either saw them happen or talked to people who did. These writers are called journalists, and like telephone operators, butchers, ballerinas, and people who clean up after horses, journalists can sometimes make mistakes.
Like other Americans, U.S. journalists have often neglected the study of history; they have much remedial work to do in trying to understand who did what to whom, why and when - and who did it first.
There were years when I was a beer and tequila guy, then I got real fat. And then I found that you could actually go on a diet and drink scotch. Then I got hooked on scotch, and if you get hooked on scotch, then everything else just tastes wrong.
What's that Regina Spektor song? Museums are like mausoleums. Having your work in a museum is something we as artists aspire to, but I don't think that's something we need to worry about while we're alive. Typically your work will end up in a museum after you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead. But while we're alive, I like to see it in places where it's connected to day-to-day life and making a difference.
In terms of how I work with actors, having worked so heavily on the script I have a very clear idea of the characters; they are reasonably well illustrated in the script. If you cast it right, to a great degree you can hand it over to the actor and I just make suggestions. I'm not the kind of director who needs or wants to get into too much finessing. Ideally, when you hit the set, you have this conversation, like, 'eh, what did you think?' 'I don't know, what did you think?' 'Why don't we just try it again, make a few physical changes.'
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