A Quote by Gabriel Iglesias
My material never comes out verbatim every time. I always tweak in a line, or tweak away a line, gain a couple tags or lose a couple tags. The timing is always off.
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I don't want to belong to any league. I am in a league of my own. I don't want any tags associated with me because I know when the media associates tags with you, they also have the power to remove those tags tomorrow.
I always tell my students to write the story all the way through, not to play with the language and fall in love with sentences that you then have to cut. I actually find that really difficult to do; there's something so demoralizing about looking at a pile of not very great sentences. As I ease into writing every morning, I tweak a sentence and then tweak a paragraph.
Writing for myself and writing for another artist are two very different experiences. When I handle both the story and the art, I have full control. I can endlessly tweak every word and every line.
I hate to put tags on things, because tags change, and they change with the requirements made on them.
You know how hard it's been to write material? Because to do stand-up comedy, it takes time for the material to develop. So you'll come up with a joke, you'll tweak it, you'll work it for six months, you really fine tune it, and now you've got a good bit. Well, with Trump, every day there's something new coming out.
Spite is never lonely; envy always tags along.
After a couple of rehearsals and a couple of takes, Sydney Pollack says, "Come here. Why are you not nervous?" And I [say], "Do you think it would be better if I was nervous?" And he says, "No, it's just I can't understand it - how you would be first time on a set, you're acting, when he flubs his line you make up a new line. It's very interesting." It's not that I think I'm great; that's what I knew I wanted to do.
The Pre highlighted things I needed to tweak. I'm glad I ran there and found the things I needed to tweak and didn't find those things out here.
I had a friend who was a plastic surgeon, so he would do little things. I never had, like, a full thing. So I would go in maybe once every two or three years, and he'd do a little here, a little there; tweak you, like you tweak your car. Then I became the plastic surgery poster girl.
If someone is not happy with one thing we either tweak it until they're happy with it. We all know where that line is, where you have to be three hands up.
It is universally appreciated, I think, that theorists are able to tweak their assumptions in order to reach any conclusion they wish. The believability of the conclusion depends not only on the fact that it was reached but on how hard the theorist had to tweak the model to get there.
I always have my setlist planned out, but the best moments are when the energy of the crowd just gets your mind working and you are able to come up with new tags for jokes and just riff off things in the room.
There's nothing good about getting older-absolutely nothing-because the amount of wisdom and experience you gain is negligible compared to what you lose. You do gain a couple of things-you gain a little bittersweet and sour wisdom from your heartbreaks and failures and things-but what you lose is so catastrophic in every way.
I find the female tragedy of insecurity to be hilarious. We get obsessed over issues like the tiny skin tags on our backs or that we're fat. You read one line in a magazine and it sends you into a tailspin.
The meaning of secrecy is very different when the model of love is one of transparency. So to understand the politics of secrecy and revelation, you need to understand the larger culture in which the couple lives and also the culture of the couple itself. What does intimacy mean to them? Where does the couple draw the line between togetherness and separateness? That's what informs you. You always ask, "What would happen if I tell? What would happen if I don't tell?" Sometimes, the partner doesn't want to know.
In my dreams and visions, I seemed to see a line, and on the other side of that line were green fields, and lovely flowers, and beautiful white ladies, who stretched out their arms to me over the line, but I couldn't reach them no-how. I always fell before I got to the line.
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