A Quote by Bill Hicks
'Where's Bill going?' He's going to comedy death. Boom! He pops out of it with another joke. It's my particular style.
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What you never want to do is have a story that doesn't track emotionally, because then you're going joke to joke and you're going to fatigue the audience. The only thing that's going to string them to the next joke is how successful the previous joke is.
The immigration bill is going to pass. We're going to have a bill. It's going to get through the Senate. I think the fundamentals are there and the foundation is strong and the bill is going to happen. The House is going to be trickier, but I think it's going to happen there too.
Every one says: 'Listen, I'd love to reinvest. I'd love to hire people. But I have no idea what this healthcare bill is going to do to my bottom line. I have no idea what this financial reform bill is going to do... I'm not going to step out a limb and do any of those until I know what this government is going to do to me.'
Every one says: 'Listen, I'd love to reinvest. I'd love to hire people. But I have no idea what this healthcare bill is going to do to my bottom line. I have no idea what this financial reform bill is going to do... I'm not going to step out a limb and do any of those until I know what this government is going to do to me.
I was just going at this career - boom, boom, boom! Then all of a sudden, at 38, Oh, my God - I forgot to get married!
If you're going to go out, I'd recommend the Boom Boom Room. That seems to be the hot spot that everyone's hitting up during Fashion Week.
Boom and bust cycles are very difficult for businesses because you're hiring a bunch because you're planning for the future. And if the future is going to be very big, you need to hire people, or suddenly you go to boom to bust, then all of a sudden, you're kind of battening down the hatches and trying to sail, you know, through the storm, it's a different thing. So part of it is making good decisions about, well, how long is a boom cycle going to be, you know, don't plan on it going forever.
I have become a giant fan of the testing process, especially with a comedy. I mean, they tell you what's funny. It's almost tailor-made for people who shoot the way we shoot, trying a million different options and versions of things. Because the audience doesn't laugh at a joke, we put in another joke. If they don't laugh at the next joke, we put in another joke. You just keep doing them and you can get the movie to the point where every joke is funny, if you have enough options in the can.
I think Amy Poehler and Tina Fey have done so much for women in comedy in the sense that they've normalized it. You don't think, 'I'm going to watch that comedy starring a woman,' you think, 'I'm going to watch that funny show.' They refuse to play the foils for men, or be reduced to the butt of every joke, and I love that about both of them.
Horror is like comedy. Woody Allen's comedy is going to be very different from Ben Stiller's comedy which is going to be different from Adam Sandler's comedy which is going to be different from Judd Apatow's comedy. They're all comedy, but they're all very different types and you can enjoy all of them. Horror is the same way.
I have a particular image, and my customers know my line isn't going to be so trendy it will be out of style next year.
For 10 years, I'd been told I was always going to be a catalogue girl, never a cover girl. Well, I got with IMG and did five covers in a year, boom, boom, boom.
I think that there's a fine line between comedy and drama. I think that ultimately, the less winking that's going on when you're doing comedy - and this is just my own thing, and maybe it's why I've never been hired in comedy except by Bill Lawrence - but I think that the less winking you do with comedy, the better off you are.
I actually think Bill Gates is conventionally smarter, even though it's a dumb word, but mental processing power - I've watched him use four different screens, process information, get to the right answer, boom boom boom.
I never had a particular brand of comedy, nor did I follow a particular style.
Time becomes a stutter-the space between drumbeats, splintered into fragments, and also endlessly long, as long as soaring guitar notes that melt into one another, as full as the dark mass of bodies around me. I feel like the air downstairs has gone to liquid, to sweat and smell and sound, and I have broken apart in it. I am wave: I am pulled into the everything. I am energy and noise and a heartbeat going boom, boom, boom, echoing the drums.
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