American actor (1916–2020)
Missing: 3, 4, 5, 7, 8. Present digits repeat to show how many times they occur.
Eleven is a master number in Western practice: reduced it is 2, but the tradition holds it unreduced because a doubled 1 is read as intensified rather than merely summed. It is associated with sudden insight, unusual perception, and a nervous system that runs hot. The reading is consistent that master numbers are a burden before they are a gift — the perception arrives whether or not there is anywhere to put it.
A complete line in the grid.
Concentrated self-direction. Read as conviction that does not need external agreement — and does not always seek it.
Concentrated sensitivity. Read as perception so continuous it becomes hard to switch off.
Concentrated idealism. Read as a wide view that can lose sight of what is directly in front of it.
Read as difficulty getting the inner picture out — the thought is complete, the expression lags. Often described in people whose written voice is far stronger than their spoken one.
Read as impatience with structure and maintenance. Associated with starting well and leaving the scaffolding to someone else.
The centre of the grid, so its absence is weighted heavily. Read as difficulty adapting mid-course — a preference for the plan already chosen over the plan now indicated.
Read as reluctance to sit with an unresolved question. Associated with wanting the working answer rather than the true one.
Read as discomfort with power and money — not incapacity, but an unwillingness to claim authority openly.
Moolank 9 comes from the day of the month alone; Bhagyank 2 from the whole date. They differ, which is the ordinary case — the two numbers answer different questions.
Mars. Force, conflict, courage, blood. Read as energy that must be aimed at something.
Bhagyank uses the same arithmetic as the Western life path, so the two will always agree. That is not two traditions confirming each other — it is one calculation under two names.
Jo wanted to be pumped up before she went on to do a scene, she asked me to slap her... They did the scene over and over, never quite right. Every time she came over to me and asked me to hit her, and hit her harder.
On working with in Gunfight at the O.K. Corral (1957); as quoted in Halliwell's Who's Who in the Movies (2003) by Leslie Halliwell (ed. John Walker), p. 468
The foreign directors are always fumbling about in obscurity, and the critics are always writing about the juxtaposition of black and white and the existential dilemma and all that shit, to disguise the fact that they don't understand the first damn thing about it either.
I know Italians and I like them. A lot of my father's best friends were Italians. I responded to that in making the picture. I put a lot of warmth into that character. Those immigrants were tough, more intensive than people are these days.
I love champions. A champion has something special about him.
Compared to Thoreau, Saint Francis of Assisi was peanuts.
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