Me Quotes
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George Bush is a fan of mine, he came to see me in the Seventies. His coke dealer brought him.
As a kid, I did want to be an old-timer, since they were the ones with the big stories and the cool clothes. I wanted to go there. Now, I guess I want to bring that with me and go back in time.
As a 27-year-old, I'm like, 'everything is hard for me. Being young is so difficult.'
It's amazing to be nominated for two Brits, and I'm in great company. I'm not a politician out blagging votes, but if people like what I do and feel like giving me a vote for British Breakthrough, imagine how mint it would be if I actually won.
The town I grew up in, there were no musicians to play with; it was just me. The town I grew up in, there was two shops: like, a paper shop that sells confectionery, sweets and stuff, and, like, a farm supplies and a petrol station. That was literally it.
Eventually, my dad bought me a guitar for Christmas, and then I just went from there, man. I bought a drum kit a few years later and bought a bass, started producing, started singing.
I hope that I've been able to treat people with the respect they've shown me. That's basically the tenet you try to live by. I haven't been successful at it all my life, but that's what I strive for.
Golfers who play a lot of courses often encounter short ledges or retaining walls, and I always had fun hopping down from them. I could jump off something six feet high and land like a cat, no problem. Well, today I can't jump off anything higher than two feet without it just killing me.
It's time for old players like me, old fogies like me, to give it up and let the young players have a chance.
I have a special feeling for Blue Hills CC, where I won perhaps the most important tournament of my life when I was 14 - the Kansas City Match Play Championship. It gave me a dream of becoming a professional golfer.
Modeling, for me, was not fulfilling. I didn't see the point - although I was able to travel a great deal. I lived in Italy, Germany, and Spain, but I wasn't devoted to it.
We weren't radical chic. Jane Fonda embarrassed me. We belonged to no political parties. Basically, we were vaudevillians.
I found out that I couldn't have a nervous breakdown. I tried a couple of times, but it just didn't work out. My mind, my body wouldn't let me.
It's hard for me to stay silent when I keep hearing that peace is only attainable through war. There's nothing more scary than watching ignorance in action.
I've seldom minded other people's opinions, but the other side of that coin is that I've seldom been interested by them, um their opinions about me I mean.
Whiskey's to tough, Champagne costs too much, Vodka puts my mouth in gear. I hope this refrain, Will help me explain, As a matter of fact, I like beer.
If Barbara Walters was interviewing me, I'd figure her career was as dead as mine!
I have had hundreds of people work for me over the years, and I don't think I ever fired anybody.
Although I am proud of all supporters, especially those legislators who have had the guts to buck the party and support me, there are some supporters who risk more than their political careers. They risk the wrath of extremists and even their livelihood for publicly supporting me.
Analog sounds so much better. I frankly can't listen to digital audio for more than a few hours without really starting to hate what I'm listening to. Even decent 24-bit digital resolution really irritates me after a while.
Someone will say, 'Well, that's good enough.' As soon as I hear 'Good enough,' it really bothers me. I spend as much time as I think I can on anything I do. I try to do that with the people that work with me. I try to get the best out of them.
I'm certainly aware of the fans. I'm always hoping that what I'm doing is something they'll like, because I do appreciate them. But, no, when I get into the studio, it's all about what I like. It's the same thing that led me to the possibility of making that first Boston album, which was to divorce myself from all other influences.
The one thing I will say for digital, and you won't hear me say that many complimentary things about it, is that it's cheap. It pretty much enables anybody to record as long as you can deal with the sound.
The lyrics are always the last thing I do. I always have a recording of basic tracks and maybe some of the lead work. I'll sit back and listen to it, and I'll just concentrate on what kind of feeling it gives me. My goal writing the lyrics is to not disrupt that feeling.
I'm a total rink rat. I can do the toe loop, the lutz, a flip, and the Scholz. That's one I invented. It's like me - you jump, you rotate in the wrong direction, and you land on the wrong foot.
Trying to get my music performed live by bar bands was a self defeating experience. It really just distracted me from what I should've been doing all along, writing and recording.
It's okay for me to make jokes about disabled people and people with horrible diseases because they make me uncomfortable, and I don't want to be like them.
When you shoot a special, you have no idea what's going to happen, and the fact that I got to do the first one with Comedy Dynamics was a roll of the dice. It was a game changer for me professionally.
I don't want to lose weight to live long or be healthy. I just want to be able to make fun of fat people again and know for sure that they're fatter than me.
If I end up homeless and penniless because of a shift in my behavior about sharing what's come to me, bring it on.
To me, 'Ace Ventura' is as scriptural and sacred as any movie I've ever done because it's childlike.
Someone asked me the other day, 'What's the biggest influence on your filmmaking career?' And they started naming filmmakers. I went 'Naw, it's Jesus actually.'
I know that 20 years from now if anyone asks me one question, it will be, 'What was it like to be in Saving Private Ryan?
Although I get so much fan mail from Great Britain, tell me, am I more famous there than Michael Madsen?
Temptation is impossible for me to resist... Come on. This is Hollywood. It's in the job description.
I used to blame my problems on other people. But my moment of clarity, if you want to call it that, came when I was looking in the mirror one day and just burst into tears. It wasn't just that I looked bad, it was that I knew my problem was me.
Although my mother and father were both completely legit, it was all around me, this crime and licentiousness.
I read for 'Reservoir Dogs,' and it got down to me and Buscemi, and Quentin couldn't make up his mind. I really wanted that part, but Buscemi is great in that. I also got really close on 'Gladiator,' but Ridley Scott decided on Russell Crowe, who's perfect in it.
I have turned down a lot of money for things that would have made me feel cheesy.
It's very easy to be cynical about the hall of fame. But on the other hand, it's really a beautiful thing for someone like me. I dedicated my entire life to this music.
That's a paradox I've noticed, too: The news business held little romance for me, yet writing about it somehow stirred my affections.
Many things embarrass me, but reading isn't one of them. I'm not ashamed of my slightly weird collection of prison memoirs. Nor the flaky meditation books. After all, I can pretend I never read those.
I'm a researcher, so I'm realistic that there's nothing I'm doing that's going to prevent me from getting cancer in the future. But I can slow it down.
I am definitely of the method-acting school. Everything to me is about sound. I don't dress up in period costumes or anything like that. I'm very aural. When I'm working, I try to soak up the sounds of an era.
The demons you have are what motivate you to make your art. This is what drives the detective, this is what drives the painter, this is what drives the writer: a conflicting urge to forget pain and at the same time remember it and fight for some kind of justice. I know these powerful things are inside of me and everyone in some way or another.
For me, history is always personal. And it's how your personal history interacts with the history of your time. I'm very attracted to characters who were cursed, as the Chinese say, to live in interesting times.
I feel like the experience I gained at university has really helped to inform me as far as who I wanted to become as an actor and what I wanted to do.
I'm quite lucky in that at certain angles I look all right, and at others I don't look so good, which enables me to play some leading roles and some stranger, more 'character'-type parts. I wouldn't say I'm the conventional handsome Hollywood leading man.
Then about 12 years ago it dawned on me that folk music - the music of Woody Guthrie and Phil Ochs, early Bob Dylan, Johnny Cash, Pete Seeger - could be as heavy as anything that comes through a Marshall stack. The combination of three chords and the right lyrical couplet can be as heavy as anything in the Metallica catalogue.
When I was a little kid, no matter what my parents told me, I would always argue - even if I agreed with them. And I've always been a show-off. As I've gotten older, I've found ways to be more subtle about it, but that's the way I am. I suppose that has something to do with why I write and direct.
I tend to be very private. It's easier for me. When you're acting, you're very susceptible to comments that somebody makes, so if they know something is going to happen on the show, and they say something, it can actually throw you off. So I tend to not share things with anybody.
When I first started acting, somebody once said to me that anything that is a problem that prevents you from getting a job will eventually be a strength. It works both ways. The odder you are, the harder it is to get work, but once you sort of establish it, you have no competition.
Singing didn't really come naturally to me, I don't think. I had to really work at it. I just kept singing. I never was really worried about it, though, because I was writing songs, and that was the most important thing to me.
I think I subconsciously put myself in these situations where the girlfriend isn't pleased with me. I'm useless as a boyfriend. That's how I managed to write all these songs.
You can tell by looking at me that I've got more miles behind me than I've got in front of me. When you reach that point, if you've got some good years left, you want to make sure that you use them wisely.
I'm not really good at retiring. I tried that one time and Nancy ran me out of the house.
Involvement in my kids' sports teams is something I have made time for over the years. I've also been able to coach all three of them in baseball and basketball, something that has strengthened our bonds and given me indescribable joy. I wouldn't trade it for anything.
I've had jobs that allow me the flexibility to achieve work-life balance, to be there when one of the kids sinks a jump shot or for the parent-teacher meetings. I can move tasks around. If I don't get something done at the office at 4:30 in the afternoon, I can go back to it at 10:00 in the evening.
A screenwriter heard me read from my novel 'The Wishbones' when it was still in progress and mentioned me to some producers in Hollywood. They called, and I told them I had a novel in my drawer about a high school election that goes haywire. They asked to take a look, and my life changed pretty dramatically as a result.
I'm not sure that it's possible to write a novel about people who don't transgress or stumble, people who don't surprise themselves with the things they do, people who can explain all their actions with perfect logical consistency. At least it's not possible for me to write that sort of novel.
I have actual dreams of Bruce Springsteen calling me up on stage to wear a bandanna and play rhythm guitar next to Little Steven.
I don't want the 35-year-olds in my audience to think of me as as 'pops' giving the kind of advice that only 65-year-olds can understand.
Regardless of age, regardless of position, regardless of the business we happen to be in, all of us need to understand the importance of branding. We are CEOs of our own companies: Me, Inc. To be in business today, our most important job is to be head marketer for the brand called You.
The most satisfying accomplishment for me was winning the British Open in 1996. But the most rewarding times were the times on the mini tours.
I had played in a tournament with the captain of the University of Minnesota's golf team, and he thought I was good. He called his coach, and the coach called me and recruited me. A five-minute phone call changed my life.
I think that more than the winning, the weeks where I don't play well are what drive me the most.
My first big one-person show was basically a combination of my family, me during puberty, embarrassing newspaper articles that were written about me in high school, my first modeling photos, and terrible things that people said about me on the Internet.
My theater nerd world and my comic friend world are colliding... That's the thing that I was nerdy about, was theatre. I wasn't as much into the comic book stuff. So it's fun to see there are people that are into that that are also theatre nerds like me.
I just try to keep going and work on projects that are exciting to me, with people I respect and enjoy and want to work with. That takes me in different directions sometimes, but it's all been a pretty good ride.
Ben Karlin is a friend of mine and was a writer on 'The Daily Show.' He's just put out a book and asked a bunch of writers from various disciplines to contribute. It was called 'Things I've Learned from Women Who've Dumped Me,' and of course I agreed, and then I actually had to sit down and write it. God, writing fiction is terrifying.
Some people shy around 'The Cobbler.' 'The Cobbler' will always be a very special film to me. I've had a lot of wonderful response from 'The Cobbler.'
I know there's a great deal that Arnold Schwarzenegger could teach me about making movies. There's a great deal I could teach him about the fiscal reforms that are needed - desperately needed - to set California back in good order.
It really scares me, the idea of keeping on growing and becoming more well-known. I don't like how my life has changed in some ways.
Well my dad forced me into playing the violin when I was about three and it all started from there. I went to Suzuki for violin lessons, and you learn to play by ear instead of reading music.
I've always been a history buff. It was one of the few subjects at school that really, really caught me. I think you'll find a lot of actors will be interested in history because it sparks your imagination so much. When you enter a period of history, your imagination just goes wild in creating the world, which is really what acting is.
If there are actors that are brilliant, people often wonder whether it's intimidating working alongside them, but it really isn't. It just makes you up your game and want to be better. Rather than cowering in their shadows, it's very encouraging to see someone who's incredible; it makes me want to be a bit more like them.
I met fred rogers in 1998, when 'Esquire' assigned me a story about him for a special issue on American heroes. I last spoke with him on Christmas Day 2002, when I called him to talk about an argument I'd had with my cousin; he died two months later, on February 27, 2003.
I just felt like there was a world of cartoon voices that had to be discovered by me.
Literally, over a weekend, Friday to Monday, I went from a C.I.A. officer to changing diapers and putting the kid in a Bjorn and going to the playground and hanging out with all the nannies. I was the only dad - everyone kind of gave me strange looks because of our sexist society.
It's funny, you know: my mother-in-law, who doesn't have an ounce of nerd in her, is just so excited by the fact that I write 'Batman' because she'll see an article about me in the 'Washington Post' or 'The Wall Street Journal' or something. And that means so much to me.
Batman's not mine. He doesn't necessarily belong to me. As a character, he belongs first to the audience and second to the hundreds of writers who have been writing him in comics for 75 years.
Alice Ripley was someone who had had a huge effect on me when I had gotten out of college and decided that this was the road I wanted to take - to write musicals.
One of the arrangements I'm really proud of is '21 Guns' because the chorus has this descending bass line with a suspended type of progression that immediately screamed 'Bach' to me.
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