A Quote by Billy Preston
I got a story, ain't no moral, I let the bad guy win every now and then.
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You see a guy with one leg, he's got a story. "Land mine '69." You see a guy with one arm, he's got a story, too. "Snow blower, bottle of whiskey." You see a guy with one tooth, what would the story be? "Well, uh, I like a lot of taffy."
I approached writing a story for the CBC Literary Awards as a mercenary venture - $5,000 for one story, not bad. Now, how do you win it? Jurors are wading through skyscrapers of paper, looking for one story that stands out.
You've got to play with that killer instinct, man. You've got to hate that guy across from you. Then after the game is over, tell him what a nice guy he is. Shake his hand. Especially if you win.
If anyone reads about my story, and says, 'Look, there's a guy that struggled with a lot of stuff that I am dealing with now, and he got through it,' then, yeah, I'd love that. If it helps one person, then that's great.
Anyone can write a story based on the kind of horror where you see a guy in car and then there's the bad guy in the back seat. It's infantile to rely on that for telling a story. That's like going to bed and thinking there's a monster under your bed. It's silly.
Slaying dragons, melting witches, and banishing demons is all fun and games until someone loses a sidekick—then it’s personal. The bad guy isn’t just the “bad guy” anymore, he’s the BAD GUY!
The trick to making a story matter is that every now and then, somebody you care about has to go. If it's somebody that you don't care about, then it doesn't really have - the stakes aren't there. But if you do that every now and then, then the story matters to people. And there are actual stakes involved, emotional stakes.
Don't let us win tonight. This is a big game. They've got to win because if we win we've got Pedro coming back today and then Schilling will pitch Game 6 and then you can take that fraud stuff and put it to bed. Don't let the Sox win this game.
Every now and then you might have to change things around. It's not something that is good to do a lot - especially with your batting - but every now and then, I don't think it's a bad thing.
Everyone likes to be the heel. Everyone wants to be the bad guy. I mean, I love being the bad guy, but the crowd doesn't want me to be a bad guy. In real life, I'm too much of a good guy to be a bad guy.
You've got to work hard, got to outwork the other guy and got to outwork the other team. Sometimes outsmart them every now and then, but it all starts with the work.
What makes 'The Wire' a beautiful story is how true to life it is. In other shows, you have a good guy and a bad guy. In 'The Wire,' bad guys are trying to be good, good guys are doing bad. You have real life. The people who do bad get bad things done to them.
That song is a story that shows how easily you could get slipped into being labeled as the bad guy, even though what you really trying to do is tell the bad guy to leave you alone.
So it didn't matter to me whether it was the serious guy or the comedy guy, if I was getting people involved and invested in watching wrestling then it's a win-win situation for both of us.
I think if you read the story as bad guy turns good guy, then clearly it is a cliché. But my experience, when I spent three years working with young people in the townships on issues principally around HIV/AIDS, is that people are usually neither entirely good or bad. They are usually variations of both. Just because someone is a carjacker doesn't mean they are a ruthless cold-blooded murderer.
If the Constitution says that the little guy should win, the little guy is going to win in court before me, ... But if the Constitution says that the big guy should win, well, then the big guy is going to win because my obligation is to the Constitution.
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