A Quote by Phil Lynott
I look upon meself as... You take a band that's made up of arms, legs, bodies... I happen to be the piece that talks. And does all that area of it, you know? I'm also very easy to recognize; the darkie in the middle jumping around with the guitar, you know. Dat boy's got rhydm!!!
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I saw a lady on TV, she was born without arms. That's sad, but then they said, "Lola does not know the meaning of the word 'can't'." That, to me, is even worse in a way. Not only is she missing arms, but she doesn't understand simple contractions. It's easy, Lola - you just take two words, put them together, take out the middle letters, put in a comma, and you raise it up!
Albert Lee and I have become real close friends, and he comes out anytime I'm in the L.A. area, and he'll sit in for the whole show ! ... we've got a habit of doing that ... in Austin Redd Volkaert does the same thing ... it's fun ... I love to make it a guitar thing and the audience doesn't know any different - they think he's some new band member they don't know. They don't realize Albert's the reason we all play Teles!.
Look, I don't want to wax philosophic, but I will say that if you're alive you've got to flap your arms and legs, you've got to jump around a lot, for life is the very opposite of death, and therefore you must at very least think noisy and colorfully, or you're not alive.
How come we've got these bodies? They are frail supports for what we feel. There are times I get so hemmed in by my arms and legs I look forward to getting past them. As though death will set me free like a traveling cloud... I'll be out there as a piece of the endless body of the world feeling pleasures so much larger than skin and bones and blood.
There's a lot of thinking when you choreograph something. You're not just choreographing some bodies, arms, legs flying around to look cool. It's a lot more complicated and sophisticated. You also have to deal with the connection of the whole film, so when I choreograph, I think of the movement itself, the camera angles, the characters.
I was a handsome boy, a very handsome young man, bright blue eyes, mmm. I would make trucks skid off the road. Anyway, girls were never a problem; the problem was me. But a lot of guys didn't like me because I made it look so easy, but it wasn't easy for me or anybody. When you're 24, it's not easy. You haven't reached anywhere that you want to be, so my looks helped me get in the movies, and I'm privileged that my parents came up with what I look like. What they did I'll never know and I don't care.
I've got a real sense of three-dimensional geometry. I can look at a flat piece of fabric and know that if I put a slit in it and make some fabric travel around a square, then when you lift it up it will drape in a certain way, and I can feel how that will happen.
Around middle school I studied jazz guitar and ended up playing in a jazz band for a bit. But, after high school, I haven't even touched a guitar.
We used to say, 'I don't wanna be jumping around and going crazy when I'm thirty,' you know? Even Mick Jagger said, 'Well, I can't see myself at forty jumping around.' Well, here we are, you know?
Where do we end, and what is the self? You cut off your arm, you're still yourself. You cut off two of your arms, you're still yourself. You cut off your arms and your legs, you're still yourself, right? Also, the idea of the self seems to be embedded right around here, right around the eyes. Infants know to look at the eyes.
You get born and you try this and you don't know why, only you keep on trying it and you are born at the same time with a lot of other people, all mixed up with them, like trying to, having to, move your arms and legs with strings, only the same strings are hitched to all the other arms and legs and the others all trying and they don't know why either except that the strings are all in one another's way.
Most directors that I've worked with - I've worked with before, especially in Holland - and they know that I'm somebody who talks and asks, and talks, and talks, and talks and questions and turns things around. I'm like a little cat, walking around my little nest until I find my place.
I grew up moving around. I went to seven different schools, so I know what it's like to be that new girl and have to not only know who you are but also take that into foreign circumstances and know how to respond.
Who dat dere's gunna beat dat team? Who Dat? Who dat?
I didn't know anything about music when I started a band. I barely knew how to play a guitar. I didn't know how to produce records. I learned how to play bass guitar and keyboards in Rilo Kiley. I picked up a lot from my collaborators.
I'm quite British; I've got big, flat feet, and I can't wear heels. I've got very, very pale Celtic skin, so my legs are always a frightening blue color. So when you take out clothes that reveal your legs, shoes that have any kind of heel, no shop will actually take my money.
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