Alex Stapleton Quotes
There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
Quotes to Explore
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Nuclear power plants must be prepared to withstand everything from earthquakes to tsunamis, from fires to floods to acts of terrorism.
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Man's idea of God, and a God's collusion, is an essential part of the equation to wage war.
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I think the interesting thing about the word 'posh' is that it is so relative; it's quite a provocative title because people have strong feelings about that word.
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Life is so fast these days, and we're exposed to so much information. Television makes us a witness to such misery.
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Folks, I've been straight for seventeen days... Not all in a row.
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Eighty per cent of my output is 'Mallory clowns on the Western canon,' and I'm happy to be that person.
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It is not whether you really cry. It's whether the audience thinks you are crying.
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Small debts are like small shot; they are rattling on every side, and can scarcely be escaped without a wound: great debts are like cannon; of loud noise, but little danger.
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The first play I wrote was called 'Twenty-five.' It was played by our company in Dublin and London, and was adapted and translated into Irish and played in America.
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I'm a Sikh; it's part of my religious tradition to never cut my hair and keep it wrapped in a turban.
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In Japan, there's a TV series called Jin. It deals with time travel. I like stories about time travel. It's a story about people living in modern day that travel back to the Edo era. Those things really interest me.
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I would define the poetic effect as the capacity that a text displays for continuing to generate different readings, without ever being completely consumed.
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I think there's always satisfaction that comes from digging in and telling a story and being on the front line and writing about it. I think there's a venue available if you look. Even print journalism is in good shape in areas.
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If you can turn your wants into your needs, you can do anything.
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I don't know what the future holds, but I know that God holds tomorrow, so it is exciting. Even when I have hard things happen, He loves me so big, so much. I come through it and I grow from it, because He has got me.
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When I'm writing, I'm trying to access my subconscious and turn off my conscious brain. I use my conscious for research, but when I'm actually writing, I'm trying to get into a place where I'm tapping into the deeper, darker elements of what's going on.
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Some Libertarians argue that Western occupation fans the flames of radical Islam; I agree. But I don't agree that, absent Western occupation, that radical Islam 'goes quietly into that good night.'
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I love Kate Winslet, Rachel Weisz, Maggie Smith and Judi Dench as well. They're all wonderful and they're very inspiring.
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Consequently it will often happen there will be a desire of particular objects, in cases where they cannot be obtained without manifest injury to others.
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When I read the 'Country Strong' script, I thought, 'Can't they just hand-double it? Can't I just do the rest of the movie and not have to do the performing?' It took me six months to learn to sing and play guitar at the same time.
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This happens to be that the power of laughter and love would beat out the power of fear every time. You know, I hate to sound corny about it but it's true, and I think that's what this movie is about.
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Entering a novel is like going on a climb in the mountains: You have to learn the rhythms of respiration - acquire the pace. Otherwise you stop right away.
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I think in the '80s, we certainly wrestled with what was the role of 'Playboy Magazine' in a post-sexual revolution, post-feminist world.
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There hadn't been one done since the late 70s. I was living in Brooklyn, had no connection to Roger Corman, to no one in this movie. I didn't go to film school. I'm like the person who should have never made this film. But I just decided to put one foot in front of the other. I was writing film articles for magazines at the time. I convinced an editor from one of the magazines that I was working for to give me a shot to do a piece on Roger. This was an excuse to go meet him.
