A Quote by Jack Black
I recommend that everyone in their youth be as out of shape as possible so that when you turn 40, people can go, "Wow, you look much better now."
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Even now if I see someone working out, in great shape, like a 40-year-old guy with his shirt off jogging I always think, "Look at that idiot." That's why everyone in my movie is kind of goofy because I'm a champion of the goofball. What sucks is I have to work out now not to die. I was always happy not working out because I never wanted to be someone who worked out to look good, but now I have to try to not die, which is such a drag.
Some people, they take their form of working out as a religion that they think is better than everyone else's. I'm not like that. If you have a better way to work out, and you can teach it to me, and I find it to be useful and gets me in better shape, I'm all about.
If I was to see any of my films now I would feel, oh god you know it's awful I could do that so much better now. Look at all the terrible things I did and all the mistakes and all the compromises and all the blunders I made, and it would be such a terrible experience for me to see them. So it's better that I put it out and move on to the next thing and make it history as quickly as possible.
I've always been a youth advocate. I mean, that's been my brand, reaching out to young people. All my life, when I've dealt with youth I'd be thinking back to my own experience. Now I look at my kids and think forward.
I've always strived to find those records that people don't know, but they actually go "Wow, what is this?" - and they go crazy to it. To me, that's more rewarding as a DJ, and that's what I always thought a DJ was supposed to do: it's about educating people. Now there seems to be a commercial edge to stuff and people are reacting to stuff they've heard on the radio all day long: to me, that's not what youth culture should be reacting to.
And how much better to die in all the happy period of undisillusioned youth, to go out in a blaze of light, than to have your body worn out and old and illusions shattered.
You never hold back. If I turn up to the track and feel cautious or not committed, I turn around and go home. If you don't have that full commitment when you're pedaling into a 40-foot jump, there's not much room for error, and you'll come off worse.
Everyone takes pause at 40. It's the age you have to assess everything in your life. It's the fictitious marker that's always coming up when you're young. The world really does look at you to kind of have it together by 40, and be successful by 40. Whatever success means.
By the time I got to set for 'Cobra,' I think I'd lost about 28 pounds in about a month and a half. I didn't want to look back and be like, 'Wow, someone should stop eating PB and J's.' Like, if I'm going to look back when I'm 80, I wanted to be like, 'Wow, okay, I looked pretty fit. I used my youth right.'
I remember when the first police scary video thing came out, and you thought, wow, ooh, look at this, come and look, come and look. And now it's on every channel.
I really do feel like I'm in better shape and look better now - even after having three kids - than I did before.
I think the future for young chefs is much brighter than it was 40 years ago. Because people have become so much more interested in food. That will not stop. We cannot go back now. We cannot go back to frozen.
The characteristics that I look for when I'm looking for really good entrepreneurs to lead companies are you have to have an inquiring mind, you have to say there must be a better way to do things, and now with technology at a point where everything is possible, how do we turn the possible into the probable? And it all starts with a passion to do something really well, to solve a problem in a way that's never been solved before, and to have just an incredible work ethic, to be persistent.
I remember when I first started to be photographed, people couldn't understand how it was possible to go around with no eyelashes, no eyebrows. Now it's much more accepted for people not to wear eyelashes or lipstick or whatever they do, but then it was quite freaky. Um, a kind of boiled look.
I want people who see my watches to go, 'Wow!' And the more they look at them, the more they go into it, the more I want them to say, 'Wow!' I work on a razor blade between gimmickry and amazement.
Let’s think of reverence as awe, as presence in and openness to the world…Try walking around with a child who’s going, ‘Wow, wow! Look at that dirty dog! Look at that burned-down house! Look at that red sky!’ And the child points, and you look, and you see, and you start going, ‘Wow! Look at that huge crazy hedge! Look at that teeny little baby! Look at the scary dark cloud!’ I think this is how we are supposed to be in the world – present and in awe.
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