A Quote by Regis Philbin
I would do the morning show and then just walk over to the network side of the building here at ABC in New York and sit down and start it up again and introduce the 10 contestants, and then introduce the 10 - the fastest finger question, and pick one of them, put them in the seat before you finally got to asking them the questions.
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If I had 10 ideas and people said yes to all of them, half of them could be crap. But, if I've got 10 ideas and we really only have the budget for one of them, then we have to pick the best one that is our most creative element.
'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.
It was almost like I was in the army: school, work, homework, fly to New York, get in at 2 in the morning, do a morning show at 5 A.M., then another one at 7, then a radio interview at 10, you know?
In my classroom, I would start my lessons with a quick review of an old topic. Then, I would introduce a new topic. Finally, I would give my students a problem to solve on their own, one that would reinforce what I'd just taught.
When I auditioned actors I never make them act. I choose a long symphony, then I tell them to sit down and I play the symphony for them. Then I sit and I look at them. I always pick a piece of music that has up and downs, very dramatic parts, very quiet parts and really sensitive parts so that it can produce different emotions.
I turn sentences around. That's my life. I write a sentence and then I turn it around. Then I look at it and I turn it around again. Then I have lunch. Then I come back in and write another sentence. Then I have tea and turn the new sentence around. Then I read the two sentences over and turn them both around. Then I lie down on my sofa and think. Then I get up and throw them out and start from the beginning.
God in heaven sits on high and plays games with us. He has plenty to do up there, what with building worlds and then knocking them down again, breaking things up and then rebuilding them, and yet he can manage to put his mind even to a little grocer in his shop or to a babe in the cradle.
I wanted individuals who were clearly themselves and I just got to put some clothes on them, but they basically came "done," you know? How they feel comfortable. I just wanted them to walk down the streets of New York and I said, "You know what? Don't even pose, just walk and we'll take pictures."
I don't see what the alternative to risk management is. If it's just getting rid of the models and instead using the smart people who can figure it out? How do you train them? What do you teach them? Do you just put them in a cockpit and let them stumble for 10 years of their life and then after that they're good at it?
You've got to be committed. It comes down to setting yourself goals as an individual. In rugby you have team goals that you strive for, but you also set yourself simple goals that are achievable. It helps to write them down so you understand what you need to do, and what your focus is. Put them on your wall, then each time you wake up, you'll see them. Then you can just tick them off once you've achieved them.
There were eleven publishers in New York City, and when it was all over, I think it went down to four or five, and then finally just the three of them, the Big Three.
To have a platform like So You Think You Can Dance, where you're reaching this audience that's been created over the 10 years that they've been on the air. People who didn't know anything about dance and aren't going to go to the theater are learning about it, even if it's ballroom and jazz, by just turning their television ono. They're building this audience that's advanced and educated enough to introduce them to ballet.
If I wanted to develop a scenario to destroy America, I would do what the Republicans are doing. Take the brightest and best young black men off the streets, put them in jail, make them meaner than hell for 8 or 10 years and then turn them lose in a society where there are plenty of guns for them to play with.
People aren't problems to be fixed. People are people, for us to walk alongside and journey with and help pick up the pieces with and, when they drop them again, to get back down and help them pick them up again. And that's real love - without condition and without expectation.
Books are the most wonderful friends in the world. When you meet them and pick them up, they are always ready to give you a few ideas. When you put them down, they never get mad; when you take them up again, they seem to enrich you all the more.
If [Bill Shawn] liked the piece, then he would run it. But he wanted the magazine to be something that was more than just a weekly event. And as a result you could pick up a New Yorker under him, as I mentioned before, a year from then or 10 years or 20 years and there would always be something worth reading in it.
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