Quotes on Really

I don't teach writing classes anymore, and I'm really glad I don't, because I would feel very strange about telling people, 'Go out there and be a writer, and make a living from it.'

People have responded to my stories so well. They come up after a show and say things like, 'Your album really helped me,' or 'I have stage four cancer. I'm terminally ill.' Somebody told me it gave them the courage to die.

My father always taught me that when you help other people, then God will give you double. And that's what has really happened to me. When I have helped other people who are in need, God has helped me more.

There's high, and there's high, and to get really high - I mean so high that you can walk on the water, that high-that's where I'm going.

My brother Billy was the joke teller. My brother Jim had a really sharp, cutting wit. And the teller of long stories, that was my brother Ed. As a child, I just absorbed everything they said, and I was always in competition for the laughs.

I've always been drawn to discomfort and that limbo of unease you get between comedy and tragedy. Making people laugh one moment and the next making them feel really uncomfortable.

I realised that I had always been writing things that other people wanted me to write and not what I really wanted to write, so I felt like I was losing my way.

I like to read, even though it was really tough, because I could go anywhere in the world in a book, and I could have so many adventures in a book.

We don't really want to think that the artist is only very skilled, that he has merely devoted his life to perfecting a certain set of intelligible skills.

It is my belief that many who think they dislike poetry are really poetical in their natures and are indebted to it, more than they imagine, for the success they may have achieved, even in practical pursuits, and for the enjoyment their lives have afforded them.

A lot of black guys always ask me, 'Did Larry Bird really play that good?' I said, 'Larry Bird is so good it's frightening.'

We really can't forecast all that well, and yet we pretend that we can, but we really can't.

If you go through life, and you don't find the beauty in an unexpected place, then you really have a sad existence.

I'm never massively concerned about what somebody is wearing, as long as it makes them feel really good about themselves.

I really just like characters who you don't know where they stand for a long while. It's like people. You hang out with them for 10 years, and then all of a sudden they do something, and you say, 'Who are you?' That's more interesting. In life and on-screen.

I'm really interested in how you create a whole new economy of recycling. It's literally the 'underground economy.' All this stuff that on the surface creates growth and profit, ends up with waste, junk, and CO2. So how do you make it economic to bring new players into the ball game?

I'm really glad we came up when we did. When we got started, the record companies were concerned with building careers. They made sure you could put on a live show before you put a record out. And if your first album sold 100,000 to 200,000 copies, they were happy, because they figured you had your foot in the door on a way to a long career.

It really upsets me that the media insists on turning 'Do the Right Thing' or 'Boyz N the Hood' into 'black films.' They are American films. They may open the window on the black experience, but they had things to say to everybody. That's why they were so successful.

Our identities really are a constant negotiation between the story we tell about ourselves and the narrative our societies like to recite.

Most writing staffs have this crazy high turnover, and then everyone's really miserable, and I don't understand that. I don't know why you don't grow people to then be able to take over as you. That's how I can have more shows.

You have to see and smell and feel the circumstances of people to really understand them.