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You know it's very difficult to be an actor, and to have people depending on you to say the right line, at the right time, and to not be able to hear your cues! I can't tell you how many times I would've had to have said What? if I didn't have my hearing aids. So my hearing aids are a life saver, and they allow me to practice my craft.
The only reason to keep talking about history is if you are juxtaposing it with the world that we live in today, if you are learning something about our world by looking at the way they shaped their world.
If you're an open channel when you're onstage, if you're just a vessel, things are going to come out that are stored away deep in your DNA.
It's about polarization. You're trying to stir up something in your audience.
For most of your career, what you're trying to do is to step into other people's shoes.
Until you make a name for yourself, they're like, 'Be a little more Denzel,' 'Be a little more Wesley Snipes.'
I feel like every night, when you see a really good production of 'Romeo and Juliet' or something, you should hope that it ends differently. That's why we watch our favorite movies again and again.
If you wish at once to do nothing and be respectable nowadays, the best pretext is to be at work on some profound study.
And I have lived since - as you have - in a period of cold war, during which we have ensured by our achievements in the science and technology of destruction that a third act in this tragedy of war will result in the peace of extinction.
When you're special to a cat, you're special indeed, she brings to you the gift of her preference of you, the sight of you, the sound of your voice, the touch of your hand.
That's one reason why it's pretty worthless, I can't totally buy it, if you think about it, it's things like the Phil Spector records. On one level they were rebellion, on another level they were keeping the teenager in his place.
Or like in the early 70's when we had the reaction against acid rock and all the fuzz tone, and feedback, and the noise. And you had James Taylor and everyone went acoustic and that.
Most of them are pretty down records, pretty unhappy, pretty confused. Which only reflects how people in general were feeling, I mean really the sense that you get is society running down.
I mean Iggy and The Stooges first couple of albums I think sold twenty five thousand between the two of them you know and so to talk in terms of an underground I mean you have to go really to the independent labels and things like that.
Here we are in the 70's when everything really is horrible and it really stinks. The mass media, everything on television everything everywhere is just rotten. You know it's just really boring and really evil, ugly and worse.
As far as a truly radical conscience, you have to take it as part of a larger thing, that it was sort of historical inevitability that with the coming of a leaguer society people would start to use drugs a lot more then they had before.
And doing so you can recreate yourself and you can also come up with something that is not only original and creative and artistic, but also maybe even decent, or moral if I can use words like that, or something that's like basically good.
The problem with being a journalist is you go places and you're working. You don't get to appreciate everything. But I got enough of a sampler of South Africa; I thought, 'I want to come here when I don't have to interview people for a living so that I can really enjoy it.' Because I think it was just a magnificent place.
I remember when I interviewed at MSNBC, one of the first things they said to me was, 'In your tapes, you had a mustache, right?' I said, 'Yeah, I recently took it off.' I said, 'If you hire me, you get to decide if you want it or not.' They said, 'No, no, we're fine with it now.'
You have to go where the story is to report on it. As a journalist, you're essentially running to things that other people are running away from.
There's no experience like going down an empty freeway toward a hurricane and then looking in the opposite lane and seeing bumper-to-bumper traffic, people fleeing that scene. Or going to a toxic spill and seeing people go the other way. You talk yourself into thinking you're invincible in order to do that.
You know there's some great folks, great story telling at 'Dateline,' and I'm glad to be a part of it.
I never believed the anchorman should be the know-it-all. And I try to communicate that to the audience. While I have some knowledge from my years of experience, what I want to do is walk you through this because we're all walking through this together.
At the end of the day, I'm reading the news. I'm not digging ditches. I'm not fighting fires. It's a long day, and it's a lot of responsibility, and it can be a little bewildering sometimes with the schedule. But, you know, it's a job, and they pay me well to do a job.
I have this vision of maybe going the way of Bill Kurtis and, I think, Tom Brokaw, to a certain extent - the ability to not be tied to the desk anymore, but to do projects that are meaningful to you.
You never know what doors are going to open up and why they are going to open up. You've got to be ready to walk through them.
You can't exactly do it from your hotel room. It's the weather; you've got to get out in it. You're telling people that there are 70 mile-per-hour winds. So it's like, 'Let's prove it.'
Everyone knows I'm black. I am who I am. This is the person that Lester Sr. and June Holt raised, and I make no apology for it. At the same time, I'm never going to pull a race card to get what I want. You can't have it both ways.
I don't care what your politics are, I would wager that if you asked any American woman which administration would she have most liked to work for as social secretary, she would pick Jacqueline Kennedy's White House as the place to be.
If you care enough to look right, you care enough to act right. And vice versa.
If you take five taxis a day, one driver will be nasty, and the other four are perfectly nice. You remember the nasty one. But you should remember the four who were nice.
When you pass 70, you forget your enemies. You think about the nice people instead.
Nothing ruins the flow of conversation more quickly than refusing a compliment you have just received. Never disagree with something nice that is said to you or about you.
I think that what we should do is have short, clipped conversations on the telephone so someone can always get us, not talking about inane stuff and having someone trying to get you. I also think we've just got to be more sensitive toward other people and not call them at night if you know they've been working.
When writing a thank-you if you've had lunch with someone downtown, send an e-mail. If somebody is giving you a dinner party in his or her home and all the work that takes, that person deserves a written thank-you.
If you are someone's guest on a corporate jet, the most important thing to remember is not just to be on time, but to be early. If you hold up the departure of the jet by as much as 10 minutes, you may cause the plane to wait in line for another hour or two before obtaining new clearance.
You'd be surprised how much easier it is to conduct business over tea than over lunch or dinner in a bustling restaurant.
Everybody forgets names and faces, and it's just inconsiderate to expect someone who isn't your boss or your sister-in-law to know exactly who you are.
If the flu situation in your town is serious, cancel a large long-awaited party you had scheduled, but promise the guests in an e-mail that you will reschedule the party as soon as possible.
A real thank you does not come by e-mail. They come in the mail in an envelope. And what comes out of an envelope is a beautiful thing to touch and to handle and to pass around for everyone to read.
Go to any bookstore, and you'll see thousands of books on etiquette, which suggests there's a lot of self-help going on. There is hope.
If you can't get a word at first, it's always waiting somewhere, and it's just a case of finding it.
When you live in a world of imagination, your imagination doesn't necessarily grow old with you.
I think we have to assume we have one life. Though, having said that, I did write a song called 'You Only Live Twice.' I'll settle for that.
Writing songs and lyrics is not that different from doing the 'Times' crossword every morning. They both give you a good mental workout.
I never try to predict what will happen to any project, ever. There are so many factors. Does the public like the subject matter, the way you handle it?
I was talking to a TV bigwig, and he said, 'Nobody under 35 knows who Sammy Davis is.' Well, you'll hear angry denials of that from younger people.
The film musical is a very strange animal. They can bite you in the back, or they can do very well for you.
It's much easier to write a song for a musical than just writing a song because, writing for a musical, you know what the story is about, so you know what the songs have got to say.
In order to have great happiness you have to have great pain and unhappiness - otherwise how would you know when you're happy?
I think it's the end of progress if you stand still and think of what you've done in the past. I keep on.
James Ivory comes close to the actors for the first rehearsal. He more or less lets you direct yourself and then will only correct you if he finds it incorrect.
For there is a price ticket on everything that puts a whizz into life, and adventure follows the rule. It's distressing, but there you are.
When you are on assignment, you stick to the facts, limit your vision, and often cut out the most revealing material. There is no texture, no shades of gray. In fiction, you can bring the reader on the perilous journey with your characters as they discover that war is more like a wilderness of mirrors, full of danger and uncertainty.
When you do a piece of journalism, you may have to cut away 95 percent of what you are experiencing.
When you have a situation that's destructive, when there's tremendous inhumanity everywhere, you see how humanity survives in all of its different permutations.
If something's not right, then you have to take to the streets and make it right.
You know the thing about a picture being worth a thousand words? A look can be worth a million.
You can't accuse me of having said anything if I'm not there to say anything.
If you want to bring change to any field, beat away at a problem until you solve it.
I was in a university prep school in Canada, and the way that particular place worked was, you chose at a very young age what you were going to do with the rest of your life. Mine was law.
You pass the old L.A. County jail, which is surprisingly beautiful. It's got a handsome stone facade and stately columns. The new L.A. County jail - called The Twin Towers - isn't beautiful at all; it's a stucco panopticon the color of sick flesh.
It's one of the most liberating things I experience in writing - letting yourself get rid of a gesture or character or plot point that always nagged, even if you couldn't admit to yourself that it did.
The publishing industry, unsurprisingly, is full of different people who love different things and express that love in different languages. Find the people, the editors and agents, with whom you share some language, and some sense of what makes literature worth reading.
One of the big ways in which I felt my own writing life shaped by recovery had to do with my relationship to other people's stories. And one of the things I loved most about recovery was the way in which, in meetings and through fellowship, you are constantly kind of paying attention to lives outside of your own.
If you operate under the premise that everybody already has some experiences that could be sources of empathy for them, I wonder if there's some process of coaxing people into tapping into that knowledge.
I used to believe that hurting would make you more alive to the hurting of others. I used to believe in feeling bad because somebody else did. Now I'm not so sure of either.
I don't make films, and because I don't make films, I'm not an expert in the craft of bringing a film into the world, how you put its various pieces together. But where I feel like I'm an expert is my own feelings in response to a film.
When you're a writer and something difficult happens to you, one of the things involved in that is this emergence of narrative potential. And there's then a kind of self-consciousness about telling a story in which you suffered.
When you're writing a sketch, it has to be surrounded by a situation. It can't just be out of the air.
I take care of everybody. I'm either hugging you or making sure that you're not sick, because my backpack has every kind of medicine in it.
The big percentage is us, the real people, and we have to say something. You have to speak up. You have to.
There was a time where I knew I was as funny as many dudes, but I had people telling me, 'You have to wear a dress onstage. You need to be more feminine.'
I know I'm fly - don't get me wrong. But I don't look, like, standard Hollywood. As a comedian, it's something you learn to use.
You know what makes me mad about 'The Bachelorette?' That, you know, that that chick would get a man. Get me a date.
I get real brave when I text people. When I text people, I am so brave because it's words, but you can't say stuff.
You can look good. Don't let nobody tell you you can't look good because of your size... or what size your feet is.
I saw six men kicking and punching the mother-in-law. My neighbour said 'Are you going to help?' I said 'No, six should be enough.'
How can you analyse what is funny? What's funny to one isn't funny to another... What's funny to you is a personal thing.
Mind you, I've always been musical... Mother used to sit me on her knee and I'd whisper, 'Mummy, Mummy, sing me a lullaby do,' and she'd say: 'Certainly my angel, my wee bundle of happiness, hold my beer while I fetch me banjo.'
One minute we're over here, the next minute we're doing something completely different. But it's interesting because you are producing so many things you couldn't do with analog.
You learn fast from others how to be an entertainer as well as a musician; you don't necessarily have to get out there and just play - you can be an entertainer, too.
Growing up, I knew you were supposed to have a profession - and something better than being a shopkeeper, which is what my parents were.
A woman at the Limited once asked me, 'Why do you work?' She said, 'You made a lot of money as a young man, so why are you still working?' I had never thought about it before. Forced to consider it, I told her, 'You know why? Because I think that if you stop to smell the roses, you'll get hit by a truck.'
You have to be really willing to embrace life and life's turns, and play that for your audience, because there is value in every moment of that journey.
Human beings have to create hope. They have to. You have to have something you hold onto as being a possibility. Otherwise, why go on?
Trust your own instincts, go inside, follow your heart. Right from the start. go ahead and stand up for what you believe in. As I've learned, that's the path to happiness.
It worries me that young singers think you can shortcut the training and go straight to fame and fortune, and programmes like Pop Idol have encouraged that.
Opera is credible drama now, and it costs less than going to a football match. What have you got to lose?
Given that there was that era of girl group music and it's still very popular, but I think if you looked at the chart from that time you would see many more men on it. Because the industry, they were catering to young girls. I mean, that's what they thought their audience was.
I don't know any other lifestyle. I get up in the morning and I really do feel that the world is my oyster, and I start that way, the same as I would if I were preparing to write a song: put a blank piece of paper up on the piano and you go for it.
I meet a lot of young people in the Midwest, and I saw what a difference a show like In the Life can make to their lives in some of these small towns where, you know, there are probably two gay people in the whole damn town.
Really you just gotta keep chugging along and keep a positive attitude and get through all the problems. You gotta face them, otherwise you don't get through.
You know, Quincy Jones was a great mentor, but he was a man in a man's world. Fortunately he's a very sensitive man and a beautiful human being, and even though he was 14 or 15 years older than me, he's a capable human being and has great communication skills.
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