Quotes of All Topics . Occasions . Authors
I would assign every lie a color: yellow when they were innocent, pale blue when they sailed over you like the sky, red because I knew they drew blood. And then there was the black lie. That's the worst of all. A black lie was when I told you the truth.
Bad psychoanalysis would say I enjoyed pleasing people, working really hard and pleasing people, which is probably related to my father in some way. But I really liked working hard. When I worked at Disneyland, I'd do 12 hours straight and go home thrilled.
I really like the animated film process. It's kind of like doing a play, because you can experiment with it, rewrite it, screen it, go back, then work on it a little bit more. If the joke doesn't work, you can fix it. It's different from a live action movie.
So much emotion can be brought in an animated film that's very hard to get in a live-action film. I haven't quite put my finger on why, but it might be because the characters can make facial expression that, if you made them in a movie, they'd call them corny.
I did stand-up comedy for 18 years. Ten of those years were spent learning, four years were spent refining, and four years were spent in wild success. I was seeking comic originality, and fame fell on me as a byproduct. The course was more plodding than heroic.
I think probably the most difficult challenge was just the climb and rise in show business because I went through my entire twenties with some success as a comedy writer but not much as a performer. And you have to be kind of informed and naive at the same time.
So she viewed time spent in the land of the normal as an investigation into the world of marriage-worthy men, even if she was unsure about her own interest in marriage. There must be one solid citizen who also had a spark of life, a sense of humor and adventure.
[her] mind blackens. The blackness is not a thought, but if it could be pressed into a thought, if a chemical from a dropper could be dripped onto it causing its color and essence to become visible, it would take the shape of this sentence: Why does no one want me?
I'm 48. For a while after 'The Jerk' (movie) I had a feeling of failure. I was a little scared. First people discover you and they love you. You get big and then you fail. And people are glad that you fail. But I've always come back and I've started to trust myself.
At first I had no skills in writing comedy. I didn't know what a joke was, but, as someone once told me, your emotions follow your intent. If you create the intention of starting a comedy act, slowly your mind starts adjusting and you arrive at a new emotional state.
'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
As a human being on Earth, you can't imagine friendship not being important in some other solar system or some other planet, or some other context of beings that are conscious. We even see it in animals. It is important for people on Earth to reach out or reach into someone.
I thought if I had a Twitter feed and say I had a following of a 100,000, that means 100,000 of them would be interested in my book. It was logical, but it didn't turn out to be true. It turned out if I had a Twitter feed of a 100,000, four of them were interested in my book.
I had loved magic tricks from the time I was six or seven. I bought books on magic. I did magic acts for my parents and their friends. I was aiming for show business from early days, and magic was the poor man's way of getting in: you buy a trick for $2, and you've got an act.
Throughout my whole life, as a performer, I've never played with a band. I've always played alone, so I was never required to stay in rhythm or anything. So it was a real different experience for me to start playing with a band. There were so many basic things for me to learn.
It's spooky to look at yourself, because you are never quite what you think you are. And you are never as good looking as the person you are acting with, or something like that. So I learned to stay away from it because it was giving me more negative feelings than positive ones.
I would say the three stages of making a film are the initial 'are we gonna do this,' 'how much will I be paid,' is there a lot of nights, who's it going to be with? The second stage of doing a film is how much fun your going to have doing it. The third stage is was the film a hit?
It is the perfect wrong time for Jeremy to do to Mirabelle what she had done to him - call him up for a quick fix - because;, in a sense, she is now betrothed. Her first date with someone who treated her well obligates her to faithfulness, at least until the relationship is explored.
I realized that comedians of the day were operating on jokes and punch lines. The moment you say the punch line, the audience either laughs sincerely or they laugh automatically or they don't laugh. The thing that bothered me was that automatic laugh. I said, that's not real laughter.
When I first started doing my stand-up act, I played the banjo, did comedy, magic tricks, juggled, read poetry. I stuck it all in. I didn't know you were supposed to just stand up and tell jokes. Essentially, that's what my act became: those five elements - except I dropped the poetry.
I loved to make people laugh in high school, and then I found I loved being on stage in front of people. I'm sure that's some kind of ego trip or a way to overcome shyness. I was very kind of shy and reserved, so there's a way to be on stage and be performing and balance your life out.
I think I meant that, given the circumstances of my childhood, I had the illusion that it's easier to be alone. To have your relationships be casual and also to pose as a solitary person, because it was more romantic. You know, I was raised on the idea of the ramblin' man and the loner.
I knew I wanted to be in show business so I took the path of least resistance. I loved comedy. But you never know you are funny until people laugh. It's just what I was interested in. I could make people laugh, I guess, but doing it at school and doing it onstage are very different things.
What I mean is that none of my talents had a - what's that great word - rubric. A singer, an actor, a dancer - there was nothing I could really say I was. The writing came much later. And, actually, thank God, because if I had said I'm a singer, I would really have just had one thing to do.
I was raised with 'Laurel and Hardy' and 'I Love Lucy' and Jerry Lewis, and I just loved it. And I had a friend in high school and we would just laugh all day and put on skits. You know, it's the Andy Kaufman thing or the Marty Short thing where you're performing in your bedroom for yourself.
I was raised with "Laurel and Hardy" and "I Love Lucy" and Jerry Lewis, and I just loved it. And I had a friend in high school and we would just laugh all day and put on skits. You know, it's the Andy Kaufman thing or the Marty Short thing where you're performing in your bedroom for yourself.
It's very hard sometimes when you can't crack something or can't solve something and you keep trying and trying and you know it's falling a little bit short. That's very hard, but then when you finally do it, it's very rewarding and the process is good too, I like working with people this way.
I loved doing 'Pennies from Heaven.' Because you have to understand that I'd been doing comedy for 15 to 20 years, and suddenly along came the opportunity to do this beautiful film. It was so emotional to me. I loved it. I don't think it was a good career move, but I have no regrets about doing it.
I would get records by Earl Scruggs... I would tune my banjo down and I'd pick out the songs note by note. Learned how to play that way. I persevered. There was a book written by Pete Seeger, who showed you some basic strumming and some basic picking... And I kind of worked out my own style of playing.
I studied with the Maharishi for many years, and really didn't learn that much. But one thing that he taught me, I'll never forget: 'ALWAYS...' no, wait-- 'NEVER...' no, wait, it was 'ALWAYS carry a litter bag in your car. It doesn't take up much room, and if it gets full, you can toss it out the window.'
When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.
In a strange way, I don't have a job, so I have a lot of time on my hands. When I do work, it might be very concentrated, and it might be months where you're not really doing anything except maybe playing the banjo or writing something. You know, there's a lot of time in the day if you're not working 9 to 5.
I was reading an article in the 'New York Times;' it talked about being in the zone, and being in the zone you're so focused that time ceases to exist. It's when you think, 'Oh, I've been doing this for five hours and didn't even know it.' It's the difference between hard work and going, '12 o'clock, not moving.'
The Matisse seemed to respond to the decreasing light by increasing its own wattage. Every object in the room was drained of color, but the Matisse stood firm in the de-escalating illumination, its beauty turning functionality inside out, making itself a more practical and useful presence than anything else in sight.
I wish I could do a lot of things different. I'm not going to tell you what they are, but if I had a list of all my films right now, I'd go, 'Okay, I'll cross that one out and cross that one out and cross that one out and cross that one out.' Really. But I've made over 40 films. How can I not have some losers in there?
It's horrible for someone to listen to someone learning any instrument - when I was first learning the banjo, I used to have to go out and sit in the car, and even in the summertime I'd have to roll up the windows. Because you just couldn't practice a banjo or a fiddle with other people around. Unless they're being paid.
I've run into people in my life who were so dramatic; people who are so extreme and so frustrating to be around that you end up thinking about them and talking about them for literally years after your experience with them is over. I've had that happen to me, and I've seen it happen to other people. I find it fascinating.
I don't think anyone is ever writing so that you can throw it away. You're always writing it to be something. Later, you decide whether it'll ever see the light of day. But at the moment of its writing, it's always meant to be something. So, to me, there's no practicing; there's only editing and publishing or not publishing.
No matter how many times people say it - 'Oh, I'm just writing this for myself' 'Oh, I'm just doing this for myself' - nobody's doing it for themselves! You're doing it for an audience. So whether I'm performing or writing a book or playing music, it's definitely to be put out there and to be received in some way, definitely.
My fear represented the failure of the human system. It is a sad truth of our creation: Something is amiss in our design, there are loose ends of our psychology that are simply not wrapped up. My fears were the dirty secrets of evolution. They were not provided for, and I was forced to construct elaborate temples to house them.
For a while, Mirabelle believes there will be a moment when he will cave in and let himself love her, but eventually she lets the idea go. She hits bottom. She dwells in the muck for several months, not depressed exactly, but involved in a mourning that at first she thinks is for Ray but soon realizes is for the loss of her old self.
When you're touring and if you go to a party, there's automatically a celebrity-audience distance. It follows you around, especially when you're on the road in small towns. Any time there is awe, it gets very difficult to be normal, to be yourself. But I'm not saying that that's what made me the way I am. I've probably always been distant.
Movies always are open to being remade because times change so much, and the tempo of movies changes. I think of it like a James Bond. They can have different actors play the same role... I've had people come up to me and say, 'We want to remake 'The Jerk' with so and so.' And I say, 'Fine.' It just doesn't bother me. It's an honor actually.
I like what a third man brings. A kind of oblique vision, seeing something in the material that you didn't know was there. As a comedian, I'm always listening to the audience. And in movies, sometimes the only audience you have is the producer and the director. I like having someone else's opinion, especially if you're on the same wavelength.
If he thinks he would harm Mirabelle, he would back away. But he does not yet understand when and how people are hurt. He doesn't understand the subtleties of slights and pains, that it is not the big events that hurt the most but rather the smallest questionable shift in tone at the end of a spoken word that can plow most deeply into the heart.
I knew I could only play Cyrano if he were Americanized. I had no intention of writing the script myself. I was afraid of it. You're playing with fire when you tamper with a classic. So I went looking for a writer. But it was such a personal idea, and anyone I would give it to would make it his own. It's hard to ask Neil Simon to write your idea.
She looked down again and I was stymied. I sat. Oh, this was enough to make me love her, because I was right with her, understanding every second and longing to step in. I didn’t even need to know the specific that was troubling her, because to me her halting voice easily stood for the general woe that hangs in the air, even on life’s happiest days.
He gave her his phone number, in a peculiar reversal of dating procedure. She might have considered kissing him, even after the horrible first date, but he just didn’t seem to know what to do. However, Jeremy does have one outstanding quality. He likes her. And this quality in a person makes them infinitely interesting to the person who is being liked.
Communication has changed so rapidly in the last 20 years, it's almost impossible to predict what might occur even in the next decade. E-mail, which now sends data hurtling across vast distances at the speed of light, has replaced primitive forms of communication such as smoke signals, which sent data hurtling across vast distances at the speed of light.
Stand-up life is really hard. At one point, I got so paralyzed I could write five screenplays before I could write three jokes for stand-up. Later, I've finally allowed myself to relax quite a bit, to think I can do it because I've done it in the past. The pressure to come up with the material is the same but the anxiety about whether I can do it is gone.