Everything Quotes

The whole - it's the economy's bad. It's bad for everybody. I have my own comedy club. I opened it three years ago in a horrible economy. I created jobs. And we just started breaking even after a year and a half, barely. For that entire time, I have had to pay the difference of what we owe in rent and taxes and everything out of my own pocket.

I'm just going to put out three or four releases a year and make it so that if you like the Desert Sessions, then you'll definitely like everything else.

I also did an Ozzy piece for him, and so I got hired. Everything happened really fast. I can't give people advice, because everything in my life changed completely in less than a year and it's still not something I am used to.

So the first season about halfway through he just sort of put us together and then broke us up all within one episode. One of the ideas is to have us do that once a year - to have everything blow up in our faces and not work out.

So yeah, a good director will be able to listen and hear everything, but have a confident vision of his own that he can say, 'oh yeah - that's a great point.' And you never know; often you can help far more than you think you can, because there's so much more that he's juggling than an actor.

Well, yeah, I wanted to resist the urge to thicken everything up with instrumentation, because I just felt like I was interested in seeing how the songs did on their own.

Piano should be the one. Yeah, because that's your basis. Everything is right there in front of you.

Yeah, I think if I were to go again, I'd try to go more on gut feelings and stick with it. I was on to Frederique. I found clues for everything, I found tons of stuff.

Yeah, I am a little bit, and I think it is a natural progression of the sport, of going upwards in technical ability and everything like that.

If someone is expressing everything I am feeling at the moment, it's probably Jon Stewart. I hear him and think, Yeah!

I'd like to read a book sometime. I've never read a book before. That'd be an adventure. I understand they have pages and everything. Yeah, I've got to do that sometime.

I remember when I first walked into Mayer's cavernous office. You had to walk 50 yards to get to him, and in that time he could really study everything about you.

That picture has become a sort of yardstick for everything else I've done.

I've played for teams that were family-oriented organizations. They made you feel like family. The Yankees are strictly a business. Baseball is your life and everything else is secondary.

When I was sixteen or seventeen, I wanted to be a writer. I wanted to be a playwright. But everything I wrote, I thought, was weak. And I can remember falling asleep in tears because I had no talent the way I wanted to have.

When I was in sixth grade there was a talent show, and I wrote my first sketch, 'The Dentist.' I played the dentist, and I had my friend play a patient. It was sort of what can go wrong at the dentist, and I just remember I had lots of fake blood and everything.

I got the regular call, that they were doing a Broadway musical of Hairspray, and would I come and audition. I was familiar with the movie, because at the time it came out my lover wrote for Premiere magazine, and we had to see everything.

I think Shakespeare is really the one. Words as music and music as words. Everything he wrote was good, which is really frightening.

For me, being a writer was never a choice. I was born one. All through my childhood I wrote short stories and stuffed them in drawers. I wrote on everything. I didn't do my homework so I could write.

Brahms believed that there was no need to publish absolutely everything that Schubert ever wrote.

I wrote... Neon Ballroom in that time where I hated music, really everything about it, I hated it.

When we write, we complement each other. We wrote six songs, Barry and I, while Robin was ill during the American tour, and they were terrible until Robin came back, and then everything worked out.

The first poem I ever wrote, about loss, when I was 5 years old, expressed the themes of everything I would ever write.

Stephen Sondheim told me that Oscar Hammerstein believed everything that he wrote. So there's great truth in the songs, and that's what was so wonderful to find.

I didn't want the headache of having a publisher reviewing everything I wrote in advance.

When I wrote the Anita Hill book I believed everything I wrote was accurate.

I'm sure you're aware, with the time it takes to put these books together, everything can suddenly start coming out at once even though I wrote anything between one and five years ago.

I didn't write this song. Someone was talking in a room. I just wrote down everything they said.

You may not win the Super Bowl. Your kids may not go on to be doctors and lawyers and everything may not go perfectly. That doesn't mean it was a bad plan or the wrong thing. It's just like a football season. Everything's not going to go perfect.

About 200 girls went into a room and there were two casting agents and they asked you to say your name and where you came from and then they picked two or three out of that. And they sent you into a room and I was really nervous and kept dropping things and I was going the wrong way and everything. Then she gave us a script and you had to learn it.