A Quote by George Carlin

When you're high, it's easy to kid yourself about how clever certain mediocre pieces of material are. — © George Carlin
When you're high, it's easy to kid yourself about how clever certain mediocre pieces of material are.
Grass probably helped me as much as it hurt me. Especially as a performer. When you're high, it's easy to kid yourself about how clever certain mediocre pieces of material are. But, on the other hand, pot opens windows and doors that you may not be able to get through any other way.
Grass [marijuana] probably helped me as much as it hurt me. Especially as a performer. When you're high, it's easy to kid yourself about how clever certain mediocre pieces of material are. But, on the other hand, pot opens windows and doors that you may not be able to get through any other way.
We create a standard for how we want to do things and everybody's got to buy into that standard or you really can't have any team chemistry. Mediocre people don't like high-achievers and high-achievers don't like mediocre people.
The first thing I did in the studio was to want to tear that camera to pieces. I had to know how that film got into the cutting room, what you did to it in there, how you projected it, how you finally got the picture together, how you made things match. The technical part of pictures is what interested me. Material was the last thing in the world I thought about. You only had to turn me loose on the set and I`d have material in two minutes, because I`d been doing it all my life.
Most companies, 97 percent or more, put all their focus on clever advertising and clever taglines to get people to buy average or mediocre products. You need to back off and offer a really good product or service.
I'd rather get a good clean laugh with good material, than an easy laugh by swearing or shocking. That's not clever or comedic, anybody can get a laugh that way, it's too easy.
I'm not feeding my kid off movie roles so it's easy for me to say 'no' to things but it's important for me to have this presence and I know it's easy to stereotype and pigeonhole certain people that come from a certain genre but I can do more than a lot of people expect.
Having a kid motivates you to really take stock of yourself and how much of yourself you want to be reflected back in the actions of your kid.
You can be mediocre, the way most actors are, and you can still be a top movie star, even if your movies are boring and predictable. All you have to do is know how to sell yourself, let yourself be manufactured.
There's too much bad. The worst is mediocre. Bad is easy. There's high quality, there's pornography, and then there's bad.
It's easy to attack an artist as misogynist, but that's really such a facile epithet. And if an artist is constantly worrying about how others will judge a work, it can end up being a block to investigating certain areas of human nature or certain truths about sexuality.
In December 1989, my mother died very suddenly, and that sparked a re-evaluation of what I was doing, and I realized I was mediocre at everything. I was a mediocre IBM employee, I was a mediocre entrepreneur, I was a mediocre artist. I decided that, although my mom wouldn't be around to see it, I wanted to be great at something.
Novels are not about expressing yourself, they're about something beautiful, funny, clever and organic. Self-expression ? Go and ring a bell in a yard if you want to express yourself.
Novels are not about expressing yourself, they're about something beautiful, funny, clever and organic. Self-expression? Go and ring a bell in a yard if you want to express yourself.
I think I always keep coming back to certain pieces, the idea of essential, elegant, easy wardrobe.
Making clothing is not just about the application of style and technique. At some stage, you want to experiment with new materials, or experiment in making materials. When you have a material to yourself, you get to make something totally new based on how that material acts. The access afforded by this tannery pushes you beyond your comfort or knowledge zone of hue and texture, forcing you - the designer - to think about how that flat plane will act when it enters the third dimension.
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