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When you're onstage and you know you're bombing, that's very, very scary. Because you know you gotta keep going - you're bombing, but you can't stop.
It's interesting - a lot of good actors are good mimes. But I'm terrible. If I tried to do an impression, nobody would know what I was doing.
And I think that when I play these villains, maybe what is different is that the audience sees me play these and they know that that's Chris and he's having fun and he knows that and he knows that and you know that and everybody knows that.
No, improvising is wonderful. But, the thing is that you cannot improvise unless you know exactly what you're doing.
Because if I don't know my lines, I really don't know what I'm doing.
I have a vision, and I know I'm right.
I tend to eat things in fours. I'll eat four nuts, four grapes, four chips at a time. I don't know why. It's not really a superstition. I don't think anything bad will happen if I don't, but three potato chips doesn't seem right.
Things work well when a group of people know each other, and things break down when it's a bunch of random people interacting.
The Q I loathe and despise, the Q every single writer I know loathes and despises, is this one: 'Where,' the reader asks, 'do you get your ideas?' It's a simple question, and my usual response is a kind of helpless, 'I don't know.'
Everyone knows now how early a fetus becomes a baby. Women who have been pregnant have seen their babies on ultrasounds. They know that there is a terrible truth to those horrific pictures the anti-choice fanatics hold up in front of abortion clinics.
Where would the memoir be without bipolar writers? I mean, that's what - that whole oversharing thing is really a very clear symptom of bipolar disorder. And I'm not saying that every, you know, I'm not accusing every memoirist of being bipolar. But I think in a way it's kind of a gift.
You know, I feel like my job is to write a book. Then filmmakers come and they make a movie. And they're two really different art forms.
Large corporations and unions know the power of being big enough to bargain for better rates.
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.
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.
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.
Any place is good for eavesdropping, if you know how to eavesdrop.
I saw a crow building a nest, I was watching him very carefully, I was kind of stalking him and he was aware of it. And you know what they do when they become aware of someone stalking them when they build a nest, which is a very vulnerable place to be? They build a decoy nest. It's just for you.
Don't you know there ain't no devil, it's just god when he's drunk.
You know the question: 'How do you get to Carnegie Hall?' Answer: 'Practise?' Well, in my case, I got there by not practising. I didn't finish my music degree. And when I got into the pop world, I decided not to conform because I figured that the point of being an artist was that you shouldn't be like anyone else.
The Germany I was enthused with was more old fashioned and kind of romantic. I just got there, and the next thing you know, I had this huge gilded album. It was kind of an amazing experience because I didn't intend it to be that way.
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