Quotes About Development

It was sad to leave 'Pippin' because it was a kind of inspirational turning point in my life. But it was time to move on.

Sunderland was a turning point where I changed from a boy to a man. It was definitely the right thing for me to go on loan to another Premier League club. It helped me beyond words.

Mexican Shuffle was a turning point of the Brass.

Everyone seems to be surprised that I've changed post-marriage. But what's so surprising about it? You must change; it's such a big turning point in your life.

Well, I think the turning point, in my opinion, has to be 2006 as in that year we came under BCCI. With that a lot of facilities were provided to us, a lot of things changed for good and better.

The early music I heard was Top of the Pops. But in bedrooms, around the house with my brother playing the Sex Pistols, Sham 69 and the Ham and all these groups then going into that sort of mod turnover scene and then going into the New Romantics scene the coming of age myself in the mid-eighties and into the noughties, it was changing.

Most writing staffs have this crazy high turnover, and then everyone's really miserable, and I don't understand that. I don't know why you don't grow people to then be able to take over as you. That's how I can have more shows.

As it turns out, I can see I'm quite a business-minded person as I've developed.

I think art that confronts dark passages and turns it in a way that develops our consciousness, our sense of identity, our future, is honorable.

I try to just keep chipping away at, you know, this little idea you may start with and then work on something for seven, eight months. Eventually it just kind of turns into something.

People think, 'Oh, well how can 'The Hobbit,' which is one book, become three films?' But you can take one line from an appendice and it turns into a whole sequence.

The U.S. government doesn't build your computers, nor do you fly aboard a U.S. government owned and operated airline. Private industry routinely takes technologies pioneered by the government and turns them into cheap, reliable and robust industries. This has happened in aviation, air mail, computers, and the Internet.

It turns out it's important to build a product and not just a bunch of data models.

I'm trying to learn how to read. I have a tutor out on the road. It is great.

I had tutors, but education was just not a priority.

It's the difficulty we had with Mr. Bean, actually, when it went from TV to film. You certainly discover that you need to explain more about a character.

I think a lot of self-identity and inner-personal development is hampered by consumerism and capitalism because we see ourselves as a reflection of the TV, rather than as a reflection of the people who are around us, truly.

The first job I got was this TV job in this show called 'The Unusuals.' Then I did a play called 'Slipping,' and at the same time I was rehearsing another play at Playwrights Horizons, and that kind of snowballed into a bunch of plays.

I started singing very early. I was six or seven years old, and I was singing along to TV commercials and figuring out, 'Oh, hey, I can sing in tune. This is really cool.' But the songwriting thing came much much later, when I was 19 years old.

I did a whole lot of work before taking up my first movie. From TV commercials to Telugu films, I learnt a lot from them all.

I think the biggest issue for legacy media - both TV and film - is that it just costs too much money to develop a TV series or movie. And most of them don't work. Then the one that works has to pay for the rest.

There have been discussions of doing 'The Demon Cycle' on both large and small screen scale, and while there is no project currently in development, I think the series has both the big imagery and complex character development to have legs either as a TV series or film franchise.

It's a challenge every year with a TV series. You want to keep evolving and keep it going. That's part of the fun.

But in a TV series, you can really take a novelistic approach and explore characters that you wouldn't ordinarily see, in a level of complexity that you wouldn't ordinarily get to explore just out of the sheer time constraints in a feature.