A Quote by Gary Payton

Larry Bird was a talker. He'd tell you something and you'd be like, are you kidding me? You're really telling me that? — © Gary Payton
Larry Bird was a talker. He'd tell you something and you'd be like, are you kidding me? You're really telling me that?
A lot of black guys always ask me, 'Did Larry Bird really play that good?' I said, 'Larry Bird is so good it's frightening.'
Larry, you only told me one lie. You said there will be another Larry Bird. Larry, there will never, ever be another Larry Bird.
Larry Bird is like a basketball god to me for what he's done for my career.
I like to use my Larry Bird analogy, because I'm from Boston. It must have been frustrating playing behind Larry Bird. Because no matter what happens, good or bad, he's the guy. And you've got no chance of getting in. That's just the way it is. It's tough to play behind a future Hall of Famer.
I got really depressed when Sidney Moncrief lost to Larry Bird. That really depressed me.
But let me tell you something. Gloria Steinem never helped me out; Larry Flynt did.
To me, horror is when I see somebody lying. I mean a person I know. A friend. And he's telling me something that I accept. And then suddenly, as he or she is telling it, there's something that gives them away. They're not telling me the truth.
I remember when I was a rookie, there was an article in 'USA Today' that said, 'Larry Bird, he's lost a step.' That night I went out to guard him, he scored, like, 47 on me.
I never really sounded like Bird, but that was my mission. I didn't care if people said that I copied him; I loved Bird's playing so much. But Mingus was the one that really pushed me away from the idea and forced me into thinking about having an individual sound and concept. That's what I got from Mingus.
If you cook something on the show, and I don't like it, I'm going to tell you. I don't understand how you could watch any of these morning shows, and everything everybody cooks is absolutely delicious. Are you kidding me, man?
I heard "romantic comedy about the invention of the vibrator in Victorian England," and I was like, "You have got to be kidding me. Yes, I want to do that." And I had a bunch of small kids, and I didn't want something that was so impossibly difficult, a "broccoli movie." But I wanted something that meant something to me, so I just kind of said, "Let's go, jump in!" It took a long time to get Hysteria made, but it was really fun.
Since I've been five, people asked me if we're related. It is usually the third question in the line of questions. What's your name? Sue Bird. Oh, what do you do? I play basketball. Are you related to Larry Bird? That's how it goes. I guess it could be worse, though, since he is a legend and all.
The issue is that when you're a critic it's hard to tell the difference between the thrill of denouncing and telling the truth. Telling the truth to me feels more often like denouncing than like praising. There are many more concrete advantages in the world for people who praise than for those who denounce. So if you want to tell the truth, oftentimes you're going to err on the side of denouncing. That's just something I have to work on.
I feel like there's a voice in my head, always, telling me every idea is brilliant, and another telling me every idea is the worst. And they argue in my head until somebody wins, until I solicit an audience to be, like, 'Will you help me figure this out? Is this the best or the worst idea?' And they tell me!
Sometimes I don't tell the truth, which is telling the truth about not telling the truth. I think people don't tell the truth when they're afraid that something bad's going to happen if they tell the truth. I say things all the time that I could really get into trouble for, but they kind of blow over.
The Talker needs attention. The Talker needs validation. The Talker would rather talk about an idea than confront the complexities, its obstacles. The Talker wants the glory but none of the hard work.
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