A Quote by Deval Patrick
If you are ever going to move beyond where you stand at that moment you have to conjure a picture in your head of where you want to go.
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You have to move beyond that vision of the way your life has always looked and begin to picture your life as you want it to look.
Your natural instinct when people are throwing punches at you is to back up. That just makes it more dangerous for you. You'll get hurt that way. You've got to teach yourself to go forward, move your feet and move your head. I'm not going to lie, that was tough for me to learn.
At times I can't help going for visual comfort. Sometimes a picture fills up your head, and you try to move the actors around to make that visual statement.
You know the known, so go a little into the unknown. The mind that is caught up in the known - extended a little beyond reason. The moment you go beyond , you move in the soul. Releasing the bondage of your mind to extend further, reach the unknown a little more. The further you go, you realize that the known is limited and the unknown is vast.
If you want to be a virtuoso then you have to set your sights above me. You have to go beyond what I'm doing. And that's for you to figure out. Because if you can do that, then I'm going to be trying to go beyond you.
If you're a baseball player and you're on the mound, you don't ever want to look up in the stands if somebody is yelling at you, because they know they've got you. You just keep your head down, keep moving along. Of course it annoys you, but you don't ever show that it annoys you. Just go ahead, move on, and keep on playing.
When we want to move beyond the pain, when we want to feel better, when we are ready to move beyond where we are, emotionally and spiritually, we must forgive.
You go real long in this business, and then you have these light-bulb moments. I just had this fleeting moment of fearlessness and a moment of trust in myself that I'm not going to listen to anyone. I'm going to do it how I want to do it. And how I want to do is what people are going to want to see and promoters want to pay for.
With stand-up you meet almost constant rejection. You put yourself out there with your thoughts and your ideas, and you think they're funny, and you hope other people think they're funny too. The only way you're going to find out is when you do it and what the reaction is going to be. So if you're not prepared for that, if you're not willing to go along with that, it's going to be a rough road. But beyond stand-up, in terms of auditioning for acting roles, you don't get most of the roles you audition for - you get a precious few.
I don't believe that you are ever done. Is life ever going to stop and stand still? We have to move as fast as the world is moving.
No matter how much money I ever get, I'm going to want to provide for my family and never have to go back to really struggling. You don't ever want to go outside, you don't ever want to be left in the cold. You want to be safe.
What you don't want is always going to be with you What you want is never going to be with you Where you don't want to go, you have to go And the moment you think you're going to live more, you're going to die
It’s about reaching that moment of pure ecstasy when a drawing just happens. Where every move you make with your hand and every thought you have in your head grows in front of you without any mistakes; no rubbing out, starting again and getting frustrated. It’s like being in a trance - it’s a fluid - and you almost don’t remember doing the picture. Drawing is an escape from all the unnecessary things in life that get in the way of being free.
The moment where you know the thing you want is ridiculous and pompous and a terrible thing to want anyway. The direction in which you're headed is not the direction you want to go, yet you're going to head that way a while longer cause that's just the kind of person you are.
I want to make a picture that could stand on its own, regardless of what it was a picture of. I've never been a bit interested in the fact that this was a picture of a blues musician or a street corner or something.
You can't just think up a move in your head and go, 'Okay, I'll just pick somebody up, and I'm just going to throw them backwards into the post.' You have to think, 'Would you want someone to do the same thing to you?'
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