I played baseball a little bit and ran some track. I was a catcher at one point and I was at shortstop.
Winning the game is the single most important thing. If you go 0-for-4, but you catch a shutout or a one-run game, and your pitcher goes seven, eight innings, and the closer closes out the game, that’s the ultimate satisfaction for a catcher. Much more than going 4-for-4 and losing.
All I’ve done is work hard to get better and better every single year to become the best catcher I can be.
I read a lot when I was young. All the obvious, all the greats, from ‘Le Grand Meaulnes,’ ‘To Kill a Mockingbird,’ ‘Fear and Loathing,’ ‘Catcher in the Rye,’ ‘The Bell Jar,’ ‘The Female Eunuch,’ ‘Valley of the Dolls,’ ‘The Feminine Mystique,’ Tom Wolfe. Then, film took over for me. Film was so exciting in the ’70s.
When I was 15 years old, I used to actually dream I was pitching in Yankee Stadium. Bill Dickey was my catcher.
It’s nice to have a catcher who knows my mechanics, too. That way if I get into trouble he can stop it before I get out of control.
Even the pictures I was doing at college – a little narrative based on a butterfly catcher, or a chimney sweep – the images were always telling stories. They were all scenarios and moods which I storyboarded and worked through – it’s exactly what I do now.
Everybody has always put this on me, this label, that I’m not a very good defensive catcher. To me, I don’t see it that way.
Occasionally, a young catcher is born with a backup’s soul. Bob Montgomery was on the Red Sox opening day roster for the entire 1970s, yet he never had more than 254 at-bats in a season.
To me, White Boy Shuffle is sort of like Catcher in the Rye, the story is so universal.
My first film goes into production in October. It’s called White Boy Shuffle and it’s based on a novel about a young black kid and it’s sort of reminiscent of Catcher in the Rye.
I had English grammar book and started to teach myself. I read ‘Catcher in Rye,’ in Russian. I was amazed at freedom in ‘Catcher in Rye!’ Freedom to have those perceptions of life!
Modern design becomes the eye catcher because it’s out of context, it is something newborn and fresh, something people have never seen before. I mean, that in itself is the way we should sort of stimulate the senses of society, this urban condition.
When I got out of the Army, I started writing the usual ‘Catcher in the Rye’ imitations, and then I wrote something that was done Off-Off Broadway in a theater. It was called ‘What Else Is There?’ and it was four or five people playing missiles in a silo waiting to take off.
‘The Catcher in the Rye’ was targeted by some schools as a book too risque to read and certainly not appropriate for young minds. My parents certainly would not have approved of the book, but I secretly read it when I was in 7th grade. I felt so rebellious, and my young mind loved it.
Very few teachers or leaders in my small Michigan community ever discussed the issue of ‘The Catcher in the Rye,’ and certainly no one came to the 1951 Novel’s defense.
Between 1961 and 1982, ‘The Catcher in the Rye’ was the most censored book in high schools and libraries in the United States. But all the talk about banning it made me rush out to find it.
When I stepped into the box, I felt the at-bat belonged to me. Everybody else was there for my convenience. The pitcher was there to throw me a ball to hit. The catcher was there to throw it back to him if he didn’t give me what I wanted the first time. And the umpire was lucky that he was close enough to watch.
The pitcher has the ball, and nothing happens until he lets go of it. So as the batter, I felt I had to fight for any bit of control I could get. I expected the umpire, the catcher, and the pitcher to wait on me. I wanted to get ready on my time.
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