A Quote by Garrison Keillor

Every show is your last show.  That's my philosophy. — © Garrison Keillor
Every show is your last show. That's my philosophy.
You have to show up when your show fails - or it succeeds. When you are enjoying the glory of success, you have to show up and still work hard because it may not last. You have to do your job with the same sincerity when you started and till you can actually do it with passion.
I've gotten burnt the last few years on a couple of little independent films where you get paid nothing, you work your ass off, there's no marketing budget except you going on every talk show. But you're seeing it all over. I mean, these disasters at NBC, with the morning show.
A live show is one of the last holdouts of a thing that makes you feel a part of a community, where you'll go and maybe meet your future wife or boyfriend, or you're taking your sister to her first show. These are the things that you remember later in your life.
Every TV show is a crapshoot, really. But every once in a while, a show gets anointed as 'the show.'
Every day, you're only as good as your last show.
You're only as good as your last joke, your last show, your last whatever. The confidence is there, but underneath, there is always insecurity.
I'm a very competitive person, and I always competed with myself. Every year, I'd take six weeks with my band, crew and choreographer to put a new show together. We'd spend eight hours per day, seven days per week putting a show together to beat the last year's show.
If you can show your child what its like to be charming and giving, show your child what love is really all about and show your child unconditional love, show your child caring and compassion and understanding the nonjudgmental and that is what your child will become.
I drink during every show. I can't remember the last show I did completely sober. It works for me. I use it as a tool. It's like steroids are for athletes. I'm looser and more self-confident. If I drank less, I wouldn't have been on stage this long.
Our respect for the dead, when they are just dead, is something wonderful, and the way we show it more wonderful still. We show it with black feathers and black horses; we show it with black dresses and black heraldries; we show it with costly obelisks and sculptures of sorrow, which spoil half of our beautiful cathedrals. We show it with frightful gratings and vaults, and lids of dismal stone, in the midst of the quiet grass; and last, and not least, we show it by permitting ourselves to tell any number of falsehoods we think amiable or credible in the epitaph.
You can't flood the market with every TV show, every reality show, and dump your library into the market all at one time and not have some kind of game plan in terms of pricing.
In television, there's this weird sense of isolation from your audience; you kind of get this feeling that you write the show for you and your wife and your friends and the other people who work on the show. It's our little show, and then it goes out into the world, and somebody watches it.
Every wrestling show is now designed to be the greatest show ever. In contrast, the NWA show is different. It didn't tire people out to watch, something was allowed to register. It is the exact antithesis of planned, big budget, choreographed, scripted sports entertainment, and that is what makes the show so different.
I've always said at the beginning of every single season of the show when I was running the show in the writers' room, "This is the last season, so let's smoke 'em if we've got 'em."
Show your work, and when the right people show up, pay close attention to them, because they'll have a lot to show you.
Every show that comes out that's female driven is compared to the last female-driven show, as if it's taking over.
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