A Quote by Garry Shandling

I had no idea who I was when I started. I was frightened to death and had no natural performing skills. — © Garry Shandling
I had no idea who I was when I started. I was frightened to death and had no natural performing skills.
I think that the line between television and features started to blur a couple years ago. The standards started to become the same, which is that the idea had to be very loud. The show didn't have to be loud; the idea had to be loud. It had to cut through the clutter.
Even though I had been boxing, I had no idea I could beat somebody in the ring. And I had no idea I could really take a punch. When I realized that, I really started taking off.
Until I started performing in public, when at the end of the concert people would come to me with teary eyes and say that my performance took them to a trance zone, I had no idea that I can create an impact with my singing.
The skills that we have are the actual magic skills - not the performing skills. We have to separate those. But the actual skills that make the tricks work, we don't get to use again.
I was about 17 or 18 when I first started performing in public. I had a teacher when I was a freshman in college and she came up to me afterwards and said she had been crying while I had been singing, and it really shocked me.
We had no idea what we were in for when we started Blue Sky. We just had an idea of what we wanted to do. When we got to a point where it seemed impossible, we just kept doing it. After 18 years, we have a lot of it done.
I had a lot of dealings with Bergkamp. I started with the under-17s at Ajax, and he was the assistant coach. Once or twice a week, we had individual one-to-one training sessions. You just watched Bergkamp. When you see him in training, he had skills that a guy just shouldn't be allowed to have.
Hitherto man had to live with the idea of death as an individual; from now onward mankind will have to live with the idea of its death as a species.
My friend Markus Zusak wrote a story from the point of view of death, 'The Book Thief.' I thought that's a great idea, where your omniscient narrator is death. I'm glad he had that idea because I wouldn't have been able to work so well with it.
To those who call me a mercenary I say that I also had interest from abroad, where I would have earned more. I have chosen Milan because, in my head, there is the idea of repeating the course I had at Juventus, where we had started rebuilding, as in this case, and we came to the top.
I started to write in 2001. I wrote the books for the fun of it. It was an old idea I had had since the nineties.
I had a stammer through adolescence. Any fun I'd had performing in school plays disappeared and only came back at 18, when the stammer started to go. Then I thought: 'Well, perhaps I can show off now.'
I had a gold medal in olympics at 12. At 14 or 15 I had my career set before me. Because I started so early, I had this daily training. It developed a focus. It became so natural that it was like a native language for me to play chess. That's why I didn't feel pressure.
Touring was an abstract idea for me in the beginning. I didn't know where it was going to take me, but I knew that I wanted to go and play for lots of people. I always had that image in my mind. I had no idea what the touring experience was like, and how it was going to unfold, but I knew that I wanted to tour. Then it just started happening slowly started happening.
I had no idea when I moved to Nashville people just were songwriters. I had no idea. So I guess I was selling myself as a singer when I first moved here. But then right after I first moved, I started writing a lot.
I started performing at home as a kid putting on shows and lip-syncing Michael Jackson for the grown-ups. Then, in musicals and plays in school. At 17, I was performing in coffee shops and in parking lots at Phish shows. At 18, I had a band that played local shows in the Northwest.
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