A Quote by Matthew Specktor

When I moved to SF in my early 20s, I loved it, but I was absolutely astonished to discover that people there hated L.A. I was just like why? Really? I had no idea. — © Matthew Specktor
When I moved to SF in my early 20s, I loved it, but I was absolutely astonished to discover that people there hated L.A. I was just like why? Really? I had no idea.
I mean, my family liked eating, but I was one of those kids who, you know, I hated fish until I was probably in my early 20s. When I went to college, I had no idea how to cook.
I loved movies as a teenager and saw as much American cinema as I could, but I hated the English films of the early 60s and had absolutely no point of identification with them.
I loved movies as a teenager and saw as much American cinema as I could, but I hated the English films of the early '60s and had absolutely no point of identification with them.
I had no idea when I moved to Nashville people just were songwriters. I had no idea. So I guess I was selling myself as a singer when I first moved here. But then right after I first moved, I started writing a lot.
There was a time in my early 20s when I would leave a movie theater and just feel so alone and lonely afterwards. I just felt like my life was nothing like those characters up on the screen, so perfect all the time. Why didn't I talk like that? Why don't I look like that?
I hated my early videos. I really did. I hated 'The Rhythm.' Hated it. It's not my vibe to have lot of white people jumping on trampolines.
In my early 20s, I had this idea that I was going to front a band, like Robert Plant of Led Zeppelin. I didn't just want to be the chick singing ballads about somebody breaking my heart. Everyone in the business said, 'Why don't you do what Olivia Newton-Jonn and Linda Ronstadt are doing?' But I wanted to sing as a powerful female who wasn't afraid to speak her mind or be sexual.
Early on, I really liked the idea of being confrontational. I loved the idea of making songs that made people really uncomfortable.
After all, that's why we read historical fiction-to be transported to another time, and to be astonished at ancient people's lives and traditions, just as they would probably be astonished at ours.
There was a time in my late teens and early 20s where I was motivated by this wanting to get out, to prove to the world that I had something to offer - that kind of youthful spirit, where maybe I had my eye on fame and fortune. I mellowed out in my late 20s and now that I'm in my early 30s, I'm coming to peace with it.
I'm closer to being happy. I'm doing things that make me happy. In football I loved to practice and I loved to play, but I hated to be in meetings, hated to talk to the media, hated to have cameras in my face, hated to sign autographs. I hated to do all those things.
If you're in your early 20s and you're hanging out with a bunch of other people in their early 20s, nobody has a sense of the kinds of problems that real 'workers' run into every day. They're running into a completely different set of problems like 'what's the party going on right now that I should be going to?
If you're in your early 20s and you're hanging out with a bunch of other people in their early 20s, nobody has a sense of the kinds of problems that real 'workers' run into every day. They're running into a completely different set of problems like 'What's the party going on right now that I should be going to?'
Actors have a different kind of existence because they blow up over night into superstars in their early 20s. Let's say you were a superstar in your early 20s and somebody gave you millions of dollars, I mean come on. Let's be honest here, we don't know anything in our 20s.
Muhammad Ali was hated, and then he was loved at the very end. Floyd Mayweather was hated, and a lot of people are really coming around on him. So, I'm just trying to stay positive and try not to offend too many people along the way and hope for the best end result.
The idea of the western, I believe, as people conceive of it, is really an artifact of the Hays Production Code of the '20s and '30s, and it has really nothing to do with the West and much to do with the influence of middle-European Jews who had come out to Hollywood to present to America a sanitized heroic idea of what America was.
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