Quotes of All Topics . Occasions . Authors
I don't write a whole lot about one person that exists in reality; it's usually characteristics of different people that I combine into a character. I tend to think through and try and make characters behave in a natural way. I follow the character and think about what they would do, what decisions they would make.
Stadiums are full, pitches are good, the press is different, people are different, the football culture is different. Everyone talks highly of England and I'd like to experience it one day. You see more space, more opportunity to enjoy your football. It's more physical, more intense, but I think I'd be comfortable.
I grew up in the Midwest, and I was a short, fat, little Jewish kid... but it was just different. People didn't understand, so I had to deal with it. One day, I physically dealt with it, and it never happened again. I'm not saying that's the way to do it, but you have to stand up for yourself, period, end of story.
Usually, you come into it, and there's half a dozen different views or angles on what different people are wanting to see, from the producer to the director to the writers to the actors. I think 'Pacific Rim' has been an example of something that illustrates what you get if everyone is driving towards a common purpose.
I think when you look at the diversity of the readership, all the different people who love comics, I want comics to reflect the real world, and I think Marvel does a good job of trying to do that, but I don't think there's ever an end point when it comes to creating diversity and creating stories that people can relate to.
I've been really fortunate that my concert career has taken off hugely. I can make a living. I enjoy performing in front of a live audience, and I can do something different every time. Sometimes I'm with a quartet, sometimes I'm solo, sometimes with a symphony, and I get to go to different cities and meet different people.
I always wanted to live the lives of different people, portray characters that are different from me. But I could have done that in front of a mirror, also, I didn't need to do films for that. At the end of the day, it's this fame, recognition, popularity, the love and appreciation you get from your audience that drives you.
I've always had an overwhelming desire to express a particular set of ideas. As a musician, I'm always working with different people who can teach me new things and, through that, reach closer to an idea of this perfect expression. I'm never setting out to change the face of electronic music; I'm just trying to define this vision.
Music is a language and different people who come along are each using that language to do something different, but all coming at it in a similar vein inasmuch as it's always community based and for the most part nonprofit. Most bands don't ever come within a mile of profit - clearly these people are not playing music to make money.
Suppose that 'Unsolved Mysteries' called you with news of a long-lost identical twin. Would that suddenly make you less of a person, less of an individual? It is hard to see how. So, why would a clone be different? Your clone would be raised in a different era by different people - like the lost identical twin, only younger than you.
In general, in my life, one of the coolest things that I've been able to do is to go to different places and meet different people and see how they view the world and to learn what their music is and what their language is, and the food they eat and everything. That idea of the beauty of the vastness of the world has just been my life.
The thing I always liked best about touring abroad was constantly running into different people, different cultures, different foods. It really pumped up my batteries... I'm constantly playing to a demographically diverse audience... one generation is driven by nostalgia, the next by curiosity. And that's why I have no plans to retire.
I've always said the thing that has helped me be the best actor I could be are my real life experiences, which have come in the form of my school experiences: meeting different people, learning different things, immersing myself in different topics and social situations, and sort of challenging myself to grow emotionally, intellectually.
I have seen in many cases that the youngsters are told by their friends and family that they sing very well, but that might not be true. When they are told that they have to work hard on their singing, they get disheartened. One must know how to take feedback from different people and work hard on his or her singing to achieve something.
Acting really started for me because I was in a house full of adults. They never shielded their lives from me. They were adults going through this world doing what they had to do. I used to like to watch them and imitate them. They all have their own distinct personalities; even though they're family, we couldn't be more different people.
When I went to Impact, it was me proving myself on a daily basis to a lot of different people. I mean, I had matches with Austin Aries, matches with Jeff Hardy, Bobby Roode, Drew McIntyre. I mean, I wrestled everyone. During that time, I wasn't just sitting back saying, 'Man, I hope WWE picks me up. I hope they see me. I hope to get back.'
I think the biggest thing is kind of working everywhere and working with different people that, when I did walk through the door at WWE and looked around, I didn't really feel that out of place because every second face I looked at is somebody I've known for over a decade or worked with or I've been around in some capacity in the industry.
As a coach, the more experience you have, the more you're around players, it helps so you see how guys learn, ways that are effective to reach different people. You see the aftermath of all the things that happened; you don't just see what happens at the game, you see what happens after the game, the followthrough, and those types of things.
I kept extensions in until I finished high school. Although, once I got to college, that's when it all started to shift. I think it was just growing up and moving to New York, where I saw so many different people, vibes, and looks, and everyone really owned it. That led me to feel more free, take more risks, and go back into my natural hair.
You know, you have a lot of people - I've met a lot of people in the past, I've gone to private schools, you know, encountered different people who think that it's OK to make comments, insensitive comments about your race because they're joking. And think that if they're joking and they say it, you know, good-naturedly, that things will fly.
The ball scene was never really only gay people. I think people have this notion that if there's a man hanging around a gay man, he must be gay, but that's just stigma. Back in the day, it was the same; there were lots of different people there: gay, straight, whatever. They did not care what they were called because they knew who they were.
'Party Up' is like 'Ferris Bueller's Day Off' crossed with 'House Party.' It's basically about this kid, my character, who's this smooth, intelligent kid who's petitioning to throw this big end-of-the-year-bash house party, and so he goes and manipulating different people and ruining lives. He somewhat has a selfish heart, but he's a nice guy.
When you're traveling constantly, every day you become inspired, and it shows in my work, sonically, lyrically, visually. Conversations with women with different accents and stories told in those accents. I like to create characters based on different people I've met, and relationships. I like to tell stories loosely based on real-life events.
I was raised fundamentalist Christian, and now I'm not that. It was not an act of rebellion or anything. For me, it was about being in a line of work where I was meeting so many different people and feeling like they all had legitimate points of view that I needed to consider and occasionally these were at odds with ideas that I was raised with.