A Quote by Pete Wentz
This story never really had a point. It’s just a lull - a skip in the record. We are addresses in ghost towns. We are old wishes that never came true. We are hand grenades (and every word you say pulls the pin). We are all gods, we are all monsters.
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I'd never done a straight play before, never, and it was very hard work - really, really hard work. It was dense, really wordy, and I was determined to learn every word of it - not just skip over bits and pieces.
While Max appears to greatly admire Wallace as a writer and feel compassion for him as a man, he is never starry-eyed, or pulls his punches. Every Love Story is a Ghost Story is as illuminating, multifaceted, and serious an estimation of David Foster Wallace's life and work as we can hope to find.
I'm really into ghost towns. I've driven cross-country the past few summers, and I would stop at some ghost towns along the way. They're like a microcosm of America as a whole.
When my record company rejected 'Full Moon Fever', I was hurt so bad. I was pretty far along in my career at that point. I'd never had anything rejected; I'd never really even had a comment. So when that happened, it was really just a board to the forehead. But then, finally, I picked myself up.
Living in Barcelona, I have my own little ghetto utopia. There are 3,000 ghost towns in Spain, and I've used the images of them a lot in my backdrops for my solo spoken-word stuff. The ghost towns could be from two buildings to 40 - things died out, or there were plagues, the roads don't lead there, whatever.
Every time the tour guide told a story, he would build it up to the point where he'd say, "And there was Bloody Joe, and his young ghost son walked into the room." He would build it up, and then it was just "the ghost walked into the room." And he would say, "Let's move on," and that would be it. It's like, wait, what happened to the bloody ghost? That's it? We knew he was making some of it up.
I had basically been shelved by the record label for two years and I was writing songs every day. I made two albums that just never came out, and that was just a really big knock to my confidence, because everything I sent seemed like it just wasn't good enough.
The problem with people who say monsters don't really exist is that they're almost never saying it to the monsters." —Alice Healy
When I went to Afghanistan in 2003, I walked into a war zone. Entire neighborhoods had been demolished. There were an overwhelming number of widows and orphans and people who had been physically and emotionally damaged; every 10-year-old kid on the street knew how to dismantle a Kalashnikov in under a minute. I would flip through math textbooks intended for third grade, fourth grade, and they would include word problems such as, "If you have 100 grenades and 20 mujahideen, how many grenades per mujahideen do you get?" War has infiltrated every facet of life.
I think the single biggest thing that money gave me-and obviously I came from a place where I was a single mother and it really was hand to mouth at one point. It was literally as poor as you can get in Britain without being homeless at one point. If you've ever been there you will never, ever take for granted that you don't need to worry. Never.
I was trained as journalist never to use the word 'I,' never to put my own opinion there. In fact, if you had a dollar or a euro for every time I use the word 'I,' you would be a poor person. But this is not true in general. I like the idea of being able to stand away and make a judgement.
This is a story about a family and, as there is a ghost involved, you might cal it a ghost story. But every family is a ghost story. The dead sit at out tables long after they have gone.
I never meet a church that wishes they didn't do it. I never meet a leader that wishes they didn't do it. They will all say, to the person, it's hard. It's difficult. It comes with complexities and confusion as you're trying to go across cultures, and you don't understand, you didn't mean to offend somebody but you've offended somebody. But they will all say it just does something.
I get up in front of a bunch of kids and say 'Hey, I'm gonna tell you a new story. Who wants to be in a new story?' Well some kid always sticks up their hand and that gives me a name, but it doesn't give me a story. I just say whatever comes to my mind and usually it's not that good. Every once in a while, however, I say something that turns into a really good story.
I was 21. At the time, I was under the thumb of my label, and I felt like I had to do, say and act out everything they asked me to do. I was trying to please them and the public and finally I had to say, "Enough. I'm going to make a record that makes me happy and addresses all facets of being a woman. I don't care if I sell one or one million records." That's how I came to make Stripped.
The art of spreading rumors may be compared to the art of pin-making. There is usually some truth, which I call the wire; as this passes from hand to hand, one gives it a polish, another a point, others make and put on the head, and at last the pin is completed.
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