I remember that when people started listening to what I had to say, I had a choice to set up a veil, even if it meant being something that I'm not. Ultimately, that's not the decision I made. I owned more of everything I am, which was a little nerve-racking.
I remember, after 'Tumbleweeds,' my friend and I wrote 'Pride and Glory.' I was just about to get it going. I had some really great actors attached, and New Line was going to make the movie, and 9/11 happened. And it was over. By September 12, it was over. And rightfully so. I understood that.
I remember going to see those Adrian Lyne films when I was going to see movies in the nineties, and I was jealous he wasn't working at New Line.
I remember when I first came to Los Angeles being staggered by the range of roles open to me. These were leading parts in shiny new projects, and what always excited me was knowing there was a possibility that I could actually get these parts. I always had the impression that I had a chance.
It's easy to think that craft can't change but important to remember that all craft process was at some point new, at some point challenged convention - not to be contrary, but enabled by some breakthrough, some newly discovered principle, or sometimes some wonderful accident.
I will say I remember the best thing in terms of publicity was being on the cover of Newsweek.
The nice thing is that when people come up to me, it's the football they remember, not all the other rubbish.
Language is a nice way to remember things.
I remember thinking the Nineties were uncool: 'I landed in the generation where nothing happens.'
When I was collecting material for a political gossip column, and someone said something interesting, I would wait for them to add, 'and I don't want to read that in your magazine!' In which case I wouldn't use it. But if they didn't remember to say it, I'd nip off to the loo, write the story up, come back and change the subject.
I remember that, often, Mike Phelan would just nip down to the touchline for a message to one or two players. It was usually just a tactical thing. But when Sir Alex comes to the touchline, all the players know that it's serious stuff.
I have no memory for what happens in what books. I don't know when I might remember a scene, but beats me what book it's in because there are 14 of them now.
I remember thinking during those times that I wanted to write in a way where there are no rules.
When I was sixteen or seventeen, I wanted to be a writer. I wanted to be a playwright. But everything I wrote, I thought, was weak. And I can remember falling asleep in tears because I had no talent the way I wanted to have.
I do spend time trying to find good melodies, and I try to remember them when I do discover them. But also it's mostly intuitive; I noodle around with the line until it sounds and feels right.
My dream, I remember, when I went to boarding school, was to have a study all my own, a little nook someplace where nobody could get at me - nobody, like the football coach.
I remember I made $22 a week doing dinner theater in Norfolk, Virginia. Back then, in the '70s, that was pretty good for a teenager, for a part-time job.
When I was in grade five or six, I just remember quite a lot of people were always talking about me like I was some kind of math genius. And there were just so many moments when I realized, like, okay, why can't I just be like some normal person and go have a 75% average like everyone else.
A breakdown involves getting to the point at which your mental state prevents you from doing the normal things of your everyday life. I remember from my own experience that I was completely ambushed by mine.
During one period while I was in solitary, I memorized the names of all 335 of the men who were then prisoners of war in North Vietnam. I can still remember them.
