I would say about 90 per cent of drunken idiots in comedy clubs wear ties, particularly in London where I work most of the time.
One of my big fears is drying up, and the more I create, the more I feel myself shrinking beneath the backlog of work I've done.
A lot of people dub our work as New Age. But for some reason, they don't dub Stan Lee's work that way.
To be honest, until I started dubbing, I didn't realize the amount of work of a dubbing artiste puts in. Especially the artistes that dub for villains. They really stretch their vocal cords to a different dimension.
You can't copyright a urinal. But you could probably copyright a sculpture of a urinal. And like Duchamp's famous work, code is both, at the same time.
I would be a liar, a hypocrite, or a fool - and I'm not any of those - to say that I don't write for the reader. I do. But for the reader who hears, who really will work at it, going behind what I seem to say. So I write for myself and that reader who will pay the dues.
I believe if an individual wants to join organized labor and work under a union contract, they should have the legal right to do so. At the same token, a person who does not want to work under organized labor and wants to work should have the ability to do so without the threat of having to join and having to pay dues to organized labor.
I'd love to do a duet, always wanted to work with Madonna, but she never asked.
Sometimes the times were dark and the outlook was lonesome, but where there is a will, there is a way. I pitched in and dug at my work until now I am where I am.
I wasn't, like, this top model; I was quietly doing my work, and when I became an actress, people started doing research, and everybody found out. People dug out photos, and suddenly people became interested - but no one was interested in my photos when I was a model.
Music moves me - duh - and that is like having a window opening on a heightened reality, but the effect is fleeting: When the music ends, the magic, the uplifting, vanishes and the window slams shut. Words, on the other hand, by the nature of how they work, emotions evoked by dint of carefully laid out thoughts, have a more lingering effect.
We work so hard on our craft, and once we get out of Duke Ellington, there are not going to be people looking for technique. I worry about that a lot.
Dullness is more than a religious issue, it is a cultural issue. Our entire culture has become dull. Dullness is the absence of the light of our souls. Look around. We have lost the sparkle in our eyes, the passion in our marriages, the meaning in our work, the joy of our faith.
No degree of dullness can safeguard a work against the determination of critics to find it fascinating.
When you work you are a flute through whose heart the whispering of the hours turns to music. Which of you would be a reed, dumb and silent, when all else sings together in unison?
I've actually become much, much dumber through being married and having these children. I find that I'm not half as sharp that I once was. I can't even help them with their 4th and 5th grade vocabulary and math work at this point.
I don't confess in my work because to me, that implies that you're dumping all your guilt and sins on the page and asking the reader to forgive you.
The 'Sodajerker' podcast is the work of Liverpool songwriting duo Simon Barber and Brian O'Connor.
Many self-help books give you these neat, tidy formulas that are really illusions. They dupe people into thinking, 'Well if I can just do that, then everything's going to be okay.' My work differs in that I don't offer quick solutions and simple explanations.
I want people to think about movies and how we watch them. Let them know it's okay to question the structure or how we're sometimes duped into a false sense of normalcy. Most of all, I want people to question the old standard practices of, 'This is how the structure of something should work,' or, 'This is how a character must behave.'
