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Mike Rowe explains why he owned virtually nothing for years despite saving every penny. "I lived in hotels 'cause most of the work I was doing was on the road. So some network somewhere was paying for it. I didn't own any clothing 'cause the shows all came with...

333,287 просмотров • 3 дней назад •via X (Twitter)

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Actor William Fichtner explains how the lowest point of his career, long before his success, became the turning point that kept him going: He shares a moment from his early days in New York when everything he'd worked for felt like it was slipping away. "I think I was 30 years old and I was in New York and I hit the end of the road. I ran out of money. I had no commercial residual. I had nothing." After a few years of scraping by, a little money in theater and a few residuals from commercials, he had to go back to waiting tables. And it crushed him to compare himself to everyone he'd come up with: "I felt like I was falling backwards and I was 30 now. Everybody that I knew I graduated college with [had] a company car and I was just... it was depressing." He describes the morning he went to ask for a brunch shift at the White Horse Tavern in the West Village, a place he knew people went to: "I woke up. I was brushing my teeth. I started crying. I really was. I was walking that street going, 'Just, it's all right, man. It's all right. You're not falling backwards. You're not going off the end of the earth.'" On the walk, it got worse before it got better. He passed someone from his past: "I passed a guy that I hadn't seen in a couple of years that was like kind of like an old friend. And I said hi to him and he walked by and he just kind of looked at me like he didn't recognize me. It was horrible. It was just horrible." Then he walked into the restaurant, and the manager met him with hostility, telling him he was on the schedule the day before, hadn't even started, and was already fired. But instead of breaking him, it freed him: "I said, 'Thank you.' I walked out of there. I said, 'I have absolutely nothing right now and I'm feeling so good and I'm not working at your f****** restaurant today, buddy.'" He went home to find a place to re-energize. Looking back, that brutal day became a great one: "Just great, great day." The lowest point can feel like proof you're failing, but sometimes it's just part of the process. Years before his success, that morning could have ended his career. Instead it became the turning point that kept him going.

Big Brain Business

348,115 просмотров • 1 месяц назад

My first time back in church since I was a boy, was Feb 22nd. I woke up and felt I needed help of some sort. I went to an employee's church. I didn't have a Bible, and as everyone was singing songs I didn't know, and saying prayers I didn't know, the uncomfortable became unbearable... Folks raised there hands in praise, and I looked at my stained hands and nails and kept them in my pockets. The night before, I had been working on a racecar, and my hands looked the part. Not dirty, just stained. So there I stood. 6 weeks past time for a haircut, stained hands, broken heart, burdened mind, absolutely filthy soul. I left there that day feeling worse than when I went in. Not because of the people, they were amazing, but because I felt so out of place. I felt like a house fly sitting on a birthday cake. I was surrounded by beautiful spirits rejoicing in their salvation, and the best I could offer is maybe I hadn't taken the Lord's name in vain for a few hours... mostly because I was sleeping. But you know what I know now? Jesus was standing at the doors as I came in amd as I left, just hoping I would accept what HE sacrificed for me.... I just didn't know it. The next week, I got me a new Bible, and new shoes, and I cleaned my hands and nails..... and I took my filthy soul, that I couldn't scrub clean, back to his house... And this time, he didn't let me leave until we had us a proper meeting. Everything changed March 1st. Everything. Today, right now, my nails are dirty again. I am working on a race car again... but my soul? As clean as a brand new tailored suit! And by the grace of God, it won't ever be dirty again. That beautiful salvation is waiting on us all. Every single one of us has Jesus holding the door, just waiting for us to come say hello. And just like my hands and this gentleman's vlue jeans,He can clean any stain on your soul.

🍊🍊Capt'n Cornjuice🥃🥃

15,697 просмотров • 3 месяцев назад

Kesha reveals how difficult it was spending nine years in litigation fighting for the rights to her voice, her face, and herself back after signing a record deal at 18. She says that during the litigation, she’d go on tour and perform hit songs, but it was really difficult and lonely because of the anxiety and fear she was living with, saying it felt like she was being punished. “I got found when i was 17 and i signed the record deal at 18 years old. And this record deal signed away the rights to my voice and likeness in perpetuity in the universe. It’s such a weird concept that somebody else can own something that’s coming from inside of my body, like that’s so weird spiritually speaking. And to really be fighting for the rights to my own voice, and my own face, to myself. Like what are we talking about for it to go on and on, nine years is a long time. And there was a lot of support and that support carried me through. Like one tweet could carry me through for months. Like one stranger on Twitter that I should not be on Twitter, but I was and I saw them and like that would carry me for a really long time. It was hard. in this litigation I would go out on tour and I would sing the hit songs and I tried but it was really difficult, complicated, really confusing for me, even like the emotions were so complicated. I was so lonely in how anxious I was and how much fear I had because we're told to speak up and stand up for ourselves and say something, you know, and I felt like why am I getting like punished”

Heron

12,571 просмотров • 14 дней назад

#ต้าห์อู๋ #Daou #Oueiija 🦖: There was a music festival in Pattaya, and I brought my Mama along. Lately, I have been bringing my Mama to work a lot. And I felt like booking the best hotel for her to sleep in, so I did. That day, she kept looking at the view from the hotel, and I saw her reaction. She said, “Mama has never slept in a hotel like this in my whole life. Mama has been working since the age of 14, performing Chinese opera to provide for the family. I never thought I’d have something like this. Never thought I’d have a beautiful home or get to ride in nice cars.” And it resonated with me, especially since Pa passed away. When Mama says things like that, (it is) true. What I had planned was just one (more) year until Pa and Ma could retire… (but) it was too late. Even if it was just one year or one day, it was too late. Success can wait for tomorrow, (but) if they are not there tomorrow, then it is too late. So, I felt like, “Hey, when can I make her happy?” To be honest, the new house that I built for her, where she can do this and that, is finished. The renovations are all done. The cats have moved in. (She?) has a role as the pillar of the house. So, I feel that the car… I had bought one before, but that time, I had to thank the fans. But this time, it came from (my own) hard work. I want it to be something that makes Mama happy. I know that I bought a car, and she can’t drive it, but I want her to see that I am starting… I want her to see that I have succeeded.

𝐟𝐢𝐥𝐦.

22,766 просмотров • 1 год назад

George Lucas on how he had to reluctantly write the screenplay for 'American Graffiti' (1973) & the confidence he gained from the movie's success: "When I was doing 'American Graffiti' (1973) I was still struggling with my ‘I don’t want to be a writer’ syndrome. I had some good friends of mine that I wanted to write the screenplay, but it took me like two years just to get the money to do a screenplay. And I got a little tiny amount of money and—which I had to go actually to the Cannes Film Festival to get on my own. So finally I got this money. I called back and I said, you know, “I got the money. We can start working on the screenplay.” And they said, “Oh, we don’t want to do that now. We’ve got our own low-budget picture off the ground and we can’t write it.” I said, “Oh no.” I said, “What am I going to do? I am in Europe and I’m not going to be back for like three months and I want to get this thing off the ground.” So they recommended another student from school that I knew pretty well. I had a story treatment that laid out the entire story scene by scene, so I called him over the phone from London and I said, “Do you want to do this?” And he said, “Okay.” The person I was working with at that time as a producer made a deal with him for the whole money because there wasn’t very much. It was so tiny that he could only get him to do it for the whole amount of money. When I came back from England, the screenplay was a completely different screenplay from the story treatment. It was more like 'Hot Rods to Hell' (1967). It was very fantasy-like, with playing chicken and things that kids didn’t really do. I wanted something that was more like the way I grew up. So I took that and I said, “Okay. Now here I am. I’ve got a deal to turn in a screenplay. I’ve got a screenplay that is just not the kind of screenplay I want at all and I have no money.” And, I spent the very last money I had saved up to go to Europe to make the deal, so I had nothing. That was a very dark period for me so I sat down myself and wrote the screenplay. After I did 'American Graffiti', and it was successful, it was a big moment for me because I really did sit down with myself and say, “Okay, now I am a director. Now I know I can get a job. I can work in this industry, and apply my trade, and express my ideas on things and be creative in a way that I enjoy. Even if I end up doing TV commercials or something, or I fall back into what I really love is documentaries. I’ll be able to do it. I know I can get a job somewhere. I know I can raise money somewhere. I know I can do what I want to do.” That was a very good feeling. At that point, I’d made it. There wasn’t anything in my life that was going to stop me from making movies." ('‘American Graffiti’ at 52: A Sentimentally Affectionate Look at America Before the Collective Loss of Innocence', Sven Mikulec, Cinephilia & Beyond)

DepressedBergman

56,916 просмотров • 6 месяцев назад