A Quote by Christopher Titus

I say we spend some money, clean up some junkies and make them all go work for the Red Cross. You ever give blood to the Red Cross? Little paper hatted trainee kid, just sticking you full of holes. Golly, jeez, this is way harder than the deep fryer, how does this work? You get an ex-junkie in there, bap-bap, he's gonna find a vein. You're in, you're out, you got sugar cookie and you're happy!
Im happy to volunteer for the American Red Cross Celebrity Cabinet. The Red Cross is an organization that responds to those in need and it is an honor to help them with the lifesaving role they play everyday in communities nationwide.
I wish I could do a lot of things different. I'm not going to tell you what they are, but if I had a list of all my films right now, I'd go, 'Okay, I'll cross that one out and cross that one out and cross that one out and cross that one out.' Really. But I've made over 40 films. How can I not have some losers in there?
We had some pretty good at-bats off Carpenter. We just couldn't find any holes. That's the way it goes sometimes. We were able to get some guys on but weren't able to get them in early. We did some little things right, we got some guys on, we got some walks. We take it one batter at a time and everybody tries to stay within their own limitations. We did that, we just didn't get the big hit to get them in.
If your breath is very deep in the lungs, it will give you a good red blood. Good red blood, with the oxygen, is quite sufficiently empowered to take away impurities. When the lungs start clearing the blood, then the liver, spleen, and kidneys have much less work to do.
I do a lot of work with the Red Cross, too. As a reporter, before I went to entertainment news, I tended to follow natural disasters. I went to Charleston, South Carolina, after Hurricane Hugo. I went to Miami the year after they were recovering from Hurricane Andrew. I came to California when they were recovering from a big earthquake. I've seen the Red Cross and how they stay there years after a natural disaster. They're not just there when a disaster is happening.
I've got a brother who works for the Red Cross, another brother is working with the homeless in France, some who work in restaurants or as teachers and dental technicians. My twin brother Merlin is an artist.
God has a kingdom. It's made up of citizens: some black, some white, some red, yellow, Spanish backgrounds. His intention was never that the individual uniqueness would cause them to lose sight of the flag flying over them - the flag of the cross.
I don't ever cross the line. I step right up to it. I put my toes on the line, but I don't ever cross that line. There are some barriers you just don't cross - you don't talk about religion; you don't talk about race. Those are lines I will never cross.
I spent two years figuring out how I could turn it into something that would satisfy me as a musician but also make some kind of cross-cultural link. I feel that I kind of at least touched on the possibilities of cross-cultural music, but it is a lifetime's work, and I don't profess to be anything other than a novice at it.
Many people came out and said, 'Boy I'd love to make a film that way.' Well, borrow some money, get some people together - you can get people to work for nothing, just treat them right, treat them as human beings, not stars, give them all an equal share, make them feel a part of what they're doing. There's no big secret to it.
I wanted to do is kind of invoke that and then dive into that kind of repetition as a DJ thing because DJing you hear beats, like "boom, boom, boom, bap, bap." You know hip hop, house, techno. So how do you translate between those electronic motifs and the motifs of the landscape itself? That is what I wanted to go for.
My career was one of just taking it step by step. I didn't know how I was gonna fare on the professional circuit when I qualified. I didn't know whether I was gonna make a dime. I didn't know anything but this one thing: I had some dreams, and I was gonna work harder than anybody out here to ply my trade.
Gimme the tune. Do I like this tune? Does it sound like another tune that I like? The more familiar it is, the better I like it. Hear those three notes there? Those are the three notes I can sing along with. I like those notes very, very much. Give me a beat. Not a fancy one. Give me a GOOD BEAT -- something I can dance to. It has to go boom-bap, boom-boom-BAP. If it doesn't, I will hate it very, very much. Also, I want it right away -- and then, write me some more songs like that -- over and over and over again, because I'm really into music.
If I decide to make a coat red in the show, it's not just red, I think: is it communist red? Is it cherry cordial? Is it ruby red? Or is it apple red? Or the big red balloon red?
I once donated a pint of my finest red corpuscles to the great American Red Cross and the doctor opined my blood was very helpful; contained so much alcohol they could use it to sterilize their instruments.
When I first came to New York, I knew some painters older than myself. I was kind of the kid who was allowed to hang out with them. That is more the way people talked in those days, it was perfectly normal to question a work's fundamental premises and its fundamental visual manifestations. It was perfectly okay to say, "Oh, that should have been red" or something like that. In a funny way, the way artists talk about art is to de-privilege it.
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