A Quote by Kate Bush
I split it up into working on the two narrative pieces that can tell a story. The scariest thing was whether I'd be any good performing live again. It was such a long time since I'd done any live work. It's so different for me than recording. Every night my audiences were what I would dream of. You could just feel their support.
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I want to live as long as I can do good; but not an hour longer than I can live in fellowship with the Holy Spirit, with my Father in heaven, my Savior, and with the faithful Latter-day Saints. To live any longer than this would be torment and misery to me. When my work is done I am ready to go; but I want to do what is required of me.
To me that really would be the essence of kindness, to have one's awareness so developed and refined that you could tell just what was needed, and not do any more or any less, and maybe not even be aware of what you had done, except it would be a helpful thing because of how fully present you were. Well, as Aerosmith once famously said: Dream on.
I discovered that in a story I could safely dream any dream, hope any hope, go anywhere I pleased any time I pleased, fight any foe, win or lose, live or die. My stories created a safe experimental learning place.
If it's something I feel I can do alright, I like being in those, and some that I think Rob Schneider and David Spade would be funnier at than me, I tell them to do it. I don't have any clue how we decide. There's this thing, this "Click", actually, one of my friends called me up, my partner told me about this idea that Steve Koren had. Steve Koren, by the way, the guy who wrote it with Mark O'Keefe, Steve Koren I've known since I was 22. He was a page at Saturday Night Live.
I can only think seriously of trying to live up to an ideal, to improve myself, if I am split in two pieces. There must be a good “I” who is going to improve the bad “me.” “I,” who has the best intentions, will go to work on wayward “me,” and the tussle between the two will very much stress the difference between them. Consequently “I” will feel more separate than ever, and so merely increase the lonely and cut-off feelings which make “me” behave so badly.
Having two boys of my own who I love more than I'll ever love myself, I can't tell you how crushing it would be if they couldn't feel that they could tell their father that they were gay - or different in any way.
There was of course no way of knowing whether you were being watched at any given moment. How often, or on what system, the Thought Police plugged in on any individual wire was guesswork. It was even conceivable that they watched everybody all the time. But at any rate they could plug in your wire whenever they wanted to. You had to live-did live, from habit that became instinct-in the assumption that every sound you made was overheard, and, except in darkness, every movement scrutinized.
I don't understand people who just live to exist, live to be OK. Live to be regular, live to be average. It doesn't make any sense to me. I live to be the best. I don't live to be good. You only get one life, and I live to be great. I live to be special.
If it came to a magic genie, I would ask him for two extra wishes. One would be that no one would have to live with the muscular dystrophy disease or any disease. And the second one would be world peace, that we just stop fighting, talk about things, and we could live in harmony once again, like God intended us to do.
Each religion is a brave guess at the authorship of Hamlet. Yet, as far as the play goes, does it make any difference whether Shakespeare or Bacon wrote it? Would it make any difference to the actors if their parts happened out of nothingness, if they found themselves acting on the stage because of some gross and unpardonable accident? Would it make any difference if the playwright gave them the lines or whether they composed them themselves, so long as the lines were properly spoken? Would it make any difference to the characters if 'A Midsummer Night's Dream' was really a dream?
What do you mean? Grace Brisbane, you do not mean that you're not going back home again. Tell me that this was just because you were momentarily angry at them for grounding you. Or even tell me it's because you could not live without The Boy's stunning Boyfruits for another night. But don't tell me you think it's forever!
I think there's an interest right now in the performance aspect of artworks, instead of just hanging things on walls. We're in a moment when a lot of younger artists are looking at work from the '60s and '70s - they are looking at the pieces by Marina Abramovic or Vito Acconci. These pieces have a time element. They were performed live. To perform them again now isn't simply an homage, because it's a different audience, a different moment.
Every time I see Trump on TV these days, I'm waiting for him to burst out, 'Live from New York, it's Saturday Night!' That would make sense to me - that this has all been one long 'Saturday Night Live' sketch.
Everybody talks about the entitlement generation. There is no time I'd rather live in than now, and there is no generation I would more entrust the future of this country to than this one. There is a tendency to live in a nostalgic state in this country, and to think that other generations possessed an integrity and a tenacity greater than the generation that is now. I wholeheartedly disagree with that. I believe that this is a group that will rise up to any challenge that comes before them as well as any other generation in America would have done.
I'm a terrible sleeper because I work all the time. I stay up late almost every night working, whether it's on a TV or live show. I come up with new ideas, do research, watch loads of TED talks, or find psychology articles.
I found out a long time ago that if I didn't have a good story for a song, I could just make one up! Now it seems over half the stories in my show are made up. The funny thing is, those seem to be the ones that resonate the most with the audiences.
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