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If you're a writer, you know that the stories don't come to you - you have to go looking for them. The old men in the lobby: that's where the stories were.
Most people don't care if you're telling them the truth or if you're telling them a lie, as long as they're entertained by it. You find that out really fast.
Their memory's like a train: you can see it getting smaller as it pulls away And the things you can't remember Tell the things you can't forget that History puts a saint in every dream.
The blues is like a planet. It's an enormous topic. You can't ignore the impact that it has had and continues to have on the whole musical culture. It's a tree that everyone is swinging from. Without it, I don't know where I would be. It's indelible and indispensable.
For a songwriter, you don't really go to songwriting school; you learn by listening to tunes. And you try to understand them and take them apart and see what they're made of, and wonder if you can make one, too.
You know when you throw a party, you think people will show up and no one will like each other. It's like that with music - parts of your musical psyche have never met other parts. You wonder if you should get them together.
What you want is for music to love you back. That's why you pay your dues. You want to feel like you belong and are part of this symbiosis, metamorphosis, whatever you want to call it.
You almost have to create situations in order to write about them, so I live in a constant state of self-imposed poverty. I don't want to live any other way.
You know what I really love? The CD players in a car. How when you put the CD right up by the slot, it actually takes it out of your hand, like it's hungry. It pulls it in, and you feel like it wants more silver discs.
Most songs have meager beginnings. You wake up in the morning, you throw on your suspenders, and you subvocalize and just think. They seem to form like calcium. I can't think of a story right off the bat that was that interesting. I write things on the back of my hand, usually, and sing into a tape recorder.
Most people don't care if you're telling them the truth or if you're telling them a lie, as long as they're entertained by it.
It's funny going to America because you're starting again. You've just won a Brit Award, but nobody will care. You have to prove yourself, but it's good to do that stuff. You might be big in Britain, but you still have to work at it everywhere else.
If you want to make it in America, you've got to work for it. And I kind of like that.
I can't believe I've met the royal family. It's, like, one of those things you never expect to do in your life.
I'd rather fight 100 structure fires than a wildfire. With a structure fire you know where your flames are, but in the woods it can move anywhere; it can come right up behind you.
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.
That's one of the things you get when you're playing golf. You get bad backs, bad necks.
The golf swing is a violent swing. You twist, and your spine is under continual stress when you're making a golf swing. Your neck, your spine, your hands, your knees, everything.
I've said many times, 'You learn to win through not liking to lose.' And that's what I mean by learning how to win.
The beautiful thing about the game of golf is you can play good golf and compete well into your later years, and you can't do this in basketball or football or baseball. But in golf, it's a longer live sport.
You know one of the things about going from modeling to acting is it's so much more fulfilling. With modeling, you get your picture taken, which is great, good for you, you know? But in acting, you're able to reach in and show a little bit more of yourself.
I love going to movies. It's just big, it takes you away, you can escape into it.
I have so much chaos in my life, it's become normal. You become used to it. You have to just relax, calm down, take a deep breath and try to see how you can make things work rather than complain about how they're wrong.
You know that something is really well written when you have to think so little about the words that are coming out of your mouth, and you're able to dwell in your own headspace to get there.
I see a film or a TV series or a play as being this machine. It sounds quite robotic, in its description, but it's basically a machine and you're just one of the cogs that goes in it. You're not the biggest one, and you're not the smallest one. Everyone's the same size.
Making a series can sometimes feel like you're keeping a secret for months until it comes out; so when it finalizes in front of you, if you like the final product, it can be very exciting.
I really don't feel it's necessary, as an actor, to make people feel uncomfortable, just because you need to be in a certain headspace. So, I do take myself away and do my own work and hunker down.
You always like to learn from people as a young actor. I think every young actor says that, but it's true.
It's something I'd find rather distracting in a historical piece, looking at characters that have obviously just gotten off their Ab Blaster. You see a piece set in the 1300s or the 1800s, and you've got characters who have perfect abs and are incredibly well-groomed, not a hair out of place, and it just doesn't make sense.
If the script is telling the story well, that is your inspiration, and you do not need to go somewhere else.
When you don't know what you're talking about, it's hard to know when you're finished.
So it - we have one enduring, uh, idea that will always live on with the Smothers Brothers, that 'Mom always liked you best.' We're the universal, uh, feeling that every child, every sibling has had somewhere along the line. Or, 'Who did she like best?' And that became kind of a little mantra.
If you're ahead of your time, who's going to listen? If you're behind the times, it's boring.
We were against the war in Vietnam and for voter registration and social issues. Everybody has their choices, and the obligation of a comedian is first to entertain. And if you're so inclined, and you have some bigger thought, make sure you express it, because that's a gift.
Auditioning is a completely terrifying beast. It's not your work that matters, it's if you can sell yourself in that room.
You don't watch television shows to see people having an easy day. You watch to see them make some of the hardest decisions they have to make. It's enjoyable to see them dealing with those important parts of their lives.
If you associate enough with older people who do enjoy their lives, who are not stored away in any golden ghettos, you will gain a sense of continuity and of the possibility for a full life.
It is not hard to understand modern art. If it hangs on a wall it's a painting, and if you can walk around it it's a sculpture.
Back in the East you can't do much without the right papers, but with the right papers you can do anything The believe in papers. Papers are power.
If enough things that are untrue are said about you, no one will know what really is true.
You can't but know that if you can capture the emotions of the audience as well as their minds, the play will work better, because it's a narrative art form.
I never had any frustration about writing uncredited. I always felt that the satisfaction of doing it was in the doing of it, really, and getting recognised by the small number of people that know what you did.
I was so thrilled being a reporter, because it gave you the kind of access to people that you wouldn't ever get to meet.
As a playwright, you can cover a lot of waterfront without being able to hold your own against an expert in any of those areas. I have no illusions about that.
There's this weird thing about acting where you have to wait for somebody to ask you to do it; like you have to wait for a director to say it's okay.
I left school early in my last year before I took my A-levels. I wasn't expelled. It was just a mutual understanding. I wasn't interested in going to school and they said, 'You're not turning up,' so we severed ties. Both sides appreciated it.
It's not often talked about what a wonderful feeling it is to see someone that you care about love and be loved.
In England, theater auditions are gentler experiences. You sit down with the director and talk about the play.
There are few things that are more revealing about someone than the way that they talk about a piece of literature or a play. You very quickly come to have a much deeper understanding of someone than you would if you just mingled together in a pub saying, 'All right, how are you?'
The most important thing is, whatever you do decide to choose, take it seriously and do your best.
I don't have a set way of preparing for something. You just have to take it seriously.
I'd go as far as it takes. There's never too far. You do what you have to do for your girl.
I found that the more I'd done Shakespeare, and the more I trusted my instincts and applied the same rules you would apply to any scene, the closer I got to how it's meant to be acted.
As a Shakespeare character, if you can persuade someone in a sentence or a speech, you've got it right.
It used to be that you'd have a song recorded by a major country artist and if it was a hit, you could buy a car. Now you can buy a dealership.
When you retire, it's a place in life, a part of the journey. You just don't quit work; you develop an attitude where you can do what you please.
The way you look for songs, you find yourself looking for little signals and clues about life and how things are.
Because the worst of all worlds is when you pretend like you have an immigration policy, you make coming into the United States without our permission illegal, and then you actually don't enforce it.
The word nobody wants to use, but you see if you are here illegally, that's the punishment, deportation.
Now how many people in their heart of hearts in that community want to see the demise of this country? How many would cheer, not out loud maybe, but in their heart when things like 9/11 occur and I'll tell you; it's a majority among them.
You can bring down governments, you can do a lot of things that are in your own interests even though liberals will get very antsy when you start talking about it.
Amnesty is a terrible policy, and it's terrible politics. It's a terrible policy because you are rewarding people for breaking the law.
Political conservatives need to recognize that multicultural politics is converging with leftist politics, and not only on 'social issues' like same-sex marriage. Our Constitution is also on the chopping block, and if you don't see that, you haven't been paying attention.
As a part of preparing those lawsuits, learning about those lawsuits, I learned about the various nuclear issues in parts of the nuclear production process I guess you'd say.
I mean, if you go back to 1960 on major pieces of legislation, the filibuster was used about eight percent of the time.
It used to be in the Senate that if you were filibustering, you stood up. There was a physical dimension to it, that you - when you became exhausted you would have to leave the floor. That was the idea of the filibuster.
It's happened to far too many Americans. You open up your phone bill and wonder why there's an extra zero, or several, on the amount that you owe.
Playing live was always definitely a lot more fun. You picture it: working alone in the studio eight or 10 hours a day with nobody else there, being frustrated and driven crazy by all of the things that you have to deal with, vs. thousands of people screaming and singing along with you playing.
Musical accidents are a gold mine. The thing about accidental discoveries is they won't be made unless you put yourself in a position to make that discovery. To do that means hundreds of hours, days and weeks where you do things and don't discover anything.
I was basically a dork that hit the books and liked to build things and did all of the things that you weren't supposed to do to be popular. But somehow I ended up onstage, playing guitar in front of everybody else.
I know everything that you can do with digital processing and digital editing inside and out, but I absolutely refuse to push the buttons and don't even want to know how to load and unload the files.
I detest computers. If you had a device like that 30 years ago that froze up constantly, misbehaved constantly, lost your information and screwed up when you needed it the most, it would have been laughable.
I can tell you that I can always recognize a Boston song, even if it's in a noisy place. I can hear that it's Boston even before I know what song it is. If a Boston song comes on in a club or somewhere, I notice that it's Boston, and the second thing I notice is what song it is.
The whole experience of getting an album from an artist you like and listening to it from beginning to end is sort of gone. Now it's piecemeal.
If you listen to my tapes, you'd hear 14 different ways to arrange the rhythm guitar behind the harmony vocal, and then 14 different ways with a different vocal. You'd have to really be a music lover to sit through that and find it entertaining. I enjoy it, but I'm easy to please.
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.
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.
Fun is when you're writing a song and you're trying a rough shot at a demo and... it works. That's when it's fun. After that, it's work.
In baseball, my theory is to strive for consistency, not to worry about the numbers. If you dwell on statistics you get shortsighted, if you aim for consistency, the numbers will be there at the end.
I always like it when I eat myself out of breath. That's a good boost to my day. You know, I'm eating, and I go, 'Oooohhh.' It's better a few moments later when you get to think about it, when you're like, 'Why did I just stop to take a deep breath? Oh yeah, my body also needs air.'
When you tour as much as I do, you're always on the road, and you tend to gravitate toward cities where you're like, 'Every time I'm in that city, the shows are fun.'
I think, to be a great conversationalist, you need to be interested in being in said conversation. Oddly enough, I think you need to be a great listener, and I do think I'm a good listener. I think that's my asset - I always listen to people when I talk to them, and that's a big thing you have to have in life and in podcasts.
I'm definitely a jaded traveler, but you try to make the best of what you know about the experience. Like, I know how to pack a bag. I know that checking a bag is for rookies.
When you're a comic doing a special, it's like you're directing your first movie.
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.
If you're going to wear a cowboy hat, you're going to have to go all the way. You should have livestock around you, settle all of your disputes with a pistol, and ride a horse absolutely everywhere.
I've always worked toward, and felt comfortable with, you know, pausing and guiding the audience on a longer bit.
I don't switch my act up to win over the crowd. I'm more like, 'You came here... this is what I do.' I dig my heels in harder if I feel like they are not on board.
I like my shame straight up and honest, and nobody does it better than In-N-Out Burger. You go to In-N-Out Burger, and they ask you the most shameful question in fast food. 'I'll have a burger, fries and a Coke.' 'Will you be eating in the car?' 'Yeah. I think so.'
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