A Quote by Jimmy Smits

Celebrity hits like a bomb. — © Jimmy Smits
Celebrity hits like a bomb.

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Celebrity hits like a bomb. So you have to find what makes you stable in the storm. Then, no matter what's happening around you, no matter what the hype or the publicity, you can still manage to make leaps in your work as an artist.
You know that old Beach Boys song, Bomb Iran? Bomb bomb bomb, bomb bomb Iran.
Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
When you first see MacGruber working on the bomb, in the initial opening credits, that bomb was a replica of the 'Die Hard' bomb. The love runs deep for '80s action movies.
A star on a movie set is like a time bomb. That bomb has got to be defused so people can approach it without fear.
I do not like this word "bomb." It is not a bomb. It is a device that is exploding.
Satire works in a bunch of specific ways, like a very precisely-geared bomb. It's a bit like something that looks harmless, and you swallow it, but once it's inside you it's too late, and it triggers, blowing up. And it's your specific inner beliefs and faulty arguments that trigger a satire bomb. If your arguments work, the bomb doesn't trigger, it doesn't need to.
It's the subconcussive hits, the constant bam, bam, bam that linemen like Suh give and receive. Those are the hits scientists say cause the lasting damage to the brain, the kind of injuries that made guys like Mike Webster, Terry Long, and so many others go crazy. The subconcussive hits - every single play.
I did not try to conform to anybody's ideal of what a Latin celebrity or movie star should be. I took a lot of hits for it.
To me, there are two types of celebrity: there's good celebrity - people that are attracted to the food and working and trying to create something great - and then there's bad celebrity - those who are working on being a celebrity.
The Air Force comes in every morning and says, 'Bomb, bomb, bomb' ... And then the State Department comes in and says, 'Not now, or not there, or too much, or not at all.'
Coming to LA and working with brands connected with celebrity was a very different experience. I thought it was interesting to work with someone like Justin Timberlake and to work with the phenomenon of celebrity in the U.S., and also to take on the challenge of taking a celebrity brand and adding credibility to it.
Everybody can't come to New York and take the hits, take the hits of the city, take the hits of the media, take the hits of the fans. It's real.
I knew that I'd lived in New York too long when, a few years ago, I was on a subway going downtown, and it stopped at 14th Street. At the station, the doors opened, and the conductor announced that there was a bomb on board and we should evacuate immediately. Nobody moved. We just looked at each other, 'Do you see a bomb?' 'I don't see a bomb.' 'There's no bomb.' 'I've only got two stops - let's go for it.
If you behave like a celebrity, then people will treat you like a celebrity, and if you don't, they won't. There's not much to write about me in the tabloids.
You go to any Jay-Z concert, and he plays his hits. Comedians don't have hits. You have to have a whole brand-new hour. You have no hits to rely on. It's the hardest thing.
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