A Quote by Hiro Murai
In the case of, like, Childish Gambino, he is someone who is a writer by trade, so he is very meticulous about how he writes his ideas. I don't do this with a lot of artist, but he would give me a treatment that he wants to do, and I'll go off that; then I'll give him feedback and pitch him my ideas.
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In life, my childish behavior is the good kind, not to where it's annoying and, 'Wow, someone sit him down and give him a bottle, give him a Pamper.' It's like, 'This situation is very heavy, but RJ is here, so he'll lighten things up a little.'
I asked Him to give me the prayers He wants me to pray and to give or withhold anything according to his plan for me. Nothing is too big to ask of Him, not even an ocean lot. It is God's business to decide if it is good for me. It is my business to obey Him.
The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
Let the writer take up surgery or bricklaying if he is interested in technique. There is no mechanical way to get the writing done, no shortcut. The young writer would be a fool to follow a theory. Teach yourself by your own mistakes; people learn only by error. The good artist believes that nobody is good enough to give him advice. He has supreme vanity. No matter how much he admires the old writer, he wants to beat him.
Childish Gambino - him and I are the same age, and I really like him.
Paul Scholes was the main figure for me growing up. His attitude, he's humble off the pitch - you didn't hear much about him - but on the pitch, he was loud, aggressive, liked to tackle, and I learned off him.
You talk to the boss about your ideas and things like that, and all he can say is yes or no. I mean, you don't open your mouth, you don't give him your ideas, you're not really trying.
Mr. Buckley, let me explain it this way. And I'll do so very carefully & slowly so that even you will understand it. If I was the sheriff, I would not have arrested him. If I was on the grand jury, I would not have indicted him. If I was the judge, I would not try him. If I was the D.A., I would not prosecute him. If I was on the trial jury, I would vote to give him a key to the city, a plaque to hang on his wall, & I would send him home to his family. And, Mr. Buckley, if my daughter is ever raped, I hope I have the guts to do what he did.
Everything was red, the air, the sun, whatever I looked at. Except for him. I fell in love with someone who was human. I watched him walk through the hills and come back in the evening when his work was through. I saw things no woman would see: that he knew how to cry, that he was alone. I cast myself at him, like a fool, but he didn't see me. And then one day he noticed I was beautiful and he wanted me. He broke me off and took me with him, in his hands, and I didn't care that I was dying until I actually was.
I don't think Trump is a deeply self-aware person. But he's absolutely off the charts as a narcissist. He is the consummate narcissistic salesman. He is in fact a sick man. And that's potentially very dangerous. The only positive thing about Trump is that he has no ideology, he is an empty vessel, surrounded by people who give him ideas, and it only matters which ideas will shine the light on Trump.
A handwritten letter carries a lot of risk. It's a one-sided conversation that reveals the truth of the writer. Furthermore, the writer is not there to see the reaction of the person he writes to, so there's a great unknown to the process that requires a leap of faith. The writer has to choose the right words to express his sentences, and then, once he has sealed the envelope, he has to place those thoughts in the hands of someone else, trusting that the feelings will be delivered, and that the recipient will understand the writer's intent. How childish to think that could be easy.
I used to go into rooms of older executives and try to pitch talk show ideas and when I was writing as a journalist I would pitch ideas for my articles and I definitely understand that excitement of a pitch and what that is to be young and a woman and trying to make your voice heard.
There are directors, and I think this is true of all directors, it would be true if I was a director - If the actor didn't want to do what I was suggesting, I would let him do it his way, and then I would say to him, "Just give me one where you do what the director wants", and that, of course, is the take that's used.
Aaron is a very passionate, maniacal writer so the scripts really come from him, but he is very open to... y'know, we'll plan ideas and we'll certainly tussle about stuff when the script comes out. So, to a certain extent, he's very interested. If there's some problem or something that doesn't ring true, he wants to know why and he wants to correct it or fight for it.
Look, I have a completely normal relationship with Sarri. I don't go out for dinner with him. I don't go round to his house. Our work is very professional: he speaks and explains what he wants me to do, and I try to implement what he wants on the pitch.
I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.
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