A Quote by John Cleese
When you've only got few days of rehearsal before you're in the studio, it's wonderful to start off with people that you have good, friendly, tolerable relationships to start with, for the simple reason that you don't have to spend 24 hours figuring out how sensitive they are, and can you give them a line reading, or how do you have to give them direction.
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Journalism taught me how to write a sentence that would make someone want to read the next one. You are trained to get rid of anything nonessential. You go in, you start writing your article, assuming a person's going to stop reading the minute you give them a reason. So the trick is: don't give them one.
To give them what I never had heals me. Some days I look at them and almost start to cry. I think, How can I love them more than I did the day before? But it keeps growing.
You could take any four people, no matter how wonderful they are, and if you make them live together on a tour bus for eight years and don't give them any time off, after a while everybody gonna start going crazy.
That’s nice of you, but it’s not necessary to loan me a car.” “I loan you cars all the time.” “And I almost always destroy them or lose them. I have terrible luck with cars.” “Working at Rangeman is a high-stress job, and you’re one of our few sources of comic relief. I give you a car and my men start a pool on how long it will take you to trash it. You’re a line item in my budget under entertainment.
I can always tell when I'm about to start writing. I go through cycles in reading. When I'm beginning to start to write something, I start reading what I think of as good literature. I read things with wonderful language.
I always have days off before and after I go to the studio. That's really important for me that I know that I have days off after, 'cause then I can give my everything when I'm in the studio. I love being in the studio and being able to think, 'Okay, I'm not doing anything tomorrow.'
I think women sometimes stop flirting with their husbands, and you can't. Men want to want feel good - they want to feel like their women love them. When they come home from work, don't start nagging them with questions. Go up to them and give them a big kiss and ask them how their day was.
Everyone on the grid gets nervous before a Formula 1 race. It's just how you manage it. It's impossible not to be a bit nervous before a Formula 1 start or even before a World Series start. You have nerves. The thing is, you know how to control them.
We realized quickly that wages are only one part of it, that what also matters are the schedules we give people, the hours that they work, the training we give them, the opportunities you provide them. What you've got to do is not just fix one part, but get all of these things moving together.
We start with our consumers and spend an exorbitant amount of time talking with them, trying to figure out what's driving them, finding out where they are and how they're changing things.
In America people get depressed for no reason. They say, 'I'm sad my boyfriend didn't call me.' I tell them, 'How would you like to spend 12 hours on a line to get bread or a chicken?' That is depressing.
Before becoming a mom, I never knew how good I had it to just spend time at a spa for a few hours. Now, those days are far and between. So when I have an hour, it's all about the mani and pedi.
It's good to give people a jolt. If they're expecting one thing, it's important to give them something else. If you do something startling, audiences might at first freak out, but then they start to think, 'This is not going to be conventional. I'm going to enjoy this.'
China need to be fought back on. And what we need to do is go at the things that they are most sensitive and most embarrassing to them; that they're hiding; get that information and put it out in public. Let the Chinese people start to digest how corrupt the Chinese government is; how they steal from the Chinese people; and how they're enriching oligarchs all throughout China.
There's a lot of new subject matter to learn. You start slowly peeling the onion and start figuring out how the policy and the politics intersect.
We always feel there are 3 parts to the song. The most important part is the reason it should exist. Our process usually consists of me sitting at the piano & Bob hovering over it. We throw ideas out...I start to play something...he'll hum something to make it better. He'll throw a line to me, I'll twist it to make it better and we scramble around like that for sometimes hours and days, 'til we both agree we've got something to show! That's how it works!
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