A Quote by Jon Gordon
Benny Carter came up to me and said to me, "You know, in the whole history of the alto, I think Phil is the guy we should all be emulating." The king! So look, I'm so blessed that my first hero took me in.
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The most telling one was recently on a plane. This guy very dressed up and formal - the watch, the shoes, the cufflinks, the whole nine yards - he came at me, and I thought I was going to get nailed. But he literally came up to me and just gave me a hug and said, "Thank you for introducing me to a subject that I didn't know anything about." In those moments it always clicks for me what we're doing here.
The only time I've ever been mistaken for someone else is - and this arguable still - when a person came up to me on the boardwalk of Ocean City, New Jersey and said, "You look a lot like that guy from computer ads" and I said, "There is a reason because I am that guy," and the guy looked at me for a minute, laughed and said, "That's a funny joke, but you really do look like him." He thought I was not me.
The first time I ever met Stephen King, he came up to me, and we went to shake hands, and he had, like, this fake rubber rat that he kind of, you know, shook at me. You know, and I said, 'No, this is a cliche - this can't be. Stephen King is trying to scare me with a fake rat?' It was just really weird.
Nick, You know, The first guy I met when I first got to Seattle, As an eighteen year old, You took me in. You believed in me from the beginning. You knew that I had potential. And every single day I know I could look at you And know that you respect me As a man, As a player, And you gonna ride with me to the end. I thank you.
Stand-up came out of three things. Frustration, necessity and arrogance. I didn't have a great career ahead of me in anything. Someone literally said to me, 'You should try stand-up,' and took me to a venue.
You know who it is? It's me in 10 years. So I turned 25. Ten years later, that same person comes to me and says, 'So, are you a hero?' And I was like, 'not even close. No, no, no.' She said, 'Why?' I said, 'Because my hero's me at 35.' So you see every day, every week, every month and every year of my life, my hero's always 10 years away. I'm never gonna be my hero. I'm not gonna attain that. I know I'm not, and that's just fine with me because that keeps me with somebody to keep on chasing.
So I go to my first book signing, and these two girls came up and gave me a piece of paper: '10 reasons you should date our dad. He climbed Mount Kilimanjaro. He's a lawyer.' He didn't know what was going on. He didn't even know me. They called him, and he came down and asked me out that day. Now I'm dating their dad!
Jesus has said "Come, blessed of my Father, take the seat in the kingdom prepared for you, because I was hungry you gave me food, I was thirsty you have me drink, I was naked you clothed me, I was homeless you took me home and I was sick you visited me." And we are just doing that.
I can't honestly say where the inspiration for my work came from. I think it came from reading. It came from texts, from Nietzsche, Schopenhauer, it came from, you know, Jean-Paul Sartre. These are the ideas that got me worked up and inspired. It wasn't so much the visual things that inspired me. Although, of course, there were plenty of painters in history that I admired all the way from Brueghel to Goya, to Picasso - because everything visual stimulates me.
Riley was quiet for a minute. She gathered her blanket all around her. "Paul always loved you, Alice. He knows I know that. I know he loves me, too. But it's different." Alice opened her mouth, but nothing came out at first. "He loved me once. But I think that part is over," she said slowly. "No, it's not. It hasn't even begun." Riley took Alice's bare foot in her hand and squeezed it. "I told him, though, that he better be good to you. When you came along, I said I'd share you, but I told him to remember that you're my sister. I loved you first."
Especially when I first came up here to New York, everybody wanted to hook me up with this guy who's Prince's sound engineer. Almost everybody wanted me to hook up with him and go to L.A. and do all that just because that's the route Prince took. And for a while I was listening to all of that. "Yeah, if it's good enough for Prince, it should be good enough for me." But I mean, that's not the case, really. Prince is a different person than I am. You just got to find the right person for you, whoever you click with.
'Heathers' was probably the first time when I started to notice that people were opening doors for me and giving me tables at restaurants, regardless of what I was wearing. A whole world opened up to me that was shocking and weird and different, and I enjoyed it, and, you know, I took great advantage of it at times.
Alto (saxophone) is just a very hard instrument; there's so few people that play it really well. I feel it's the best one, too, now. At first I didn't feel that way; I wanted to be a tenor player. It took a long time for me to feel that alto was the most expressive of the saxophones.
The first day of shooting came, and of course I was nervous. I would lie if I said I wasn't impressed. I mean, Lars von Trier hiring me to be the king in 'Medea'... Lars said, 'Stop! Stop!' And I was so nervous, I turned around and said, 'What is it?' He said, '... Just be a tired king.'
I don't know what I was trying to get out of a tenor - but it never really satisfied me until one day I picked up my alto and I said, 'Where have you been?' and I said right here for now on!
The more people told me that, you know, wow, you should be so blessed. Dont you feel blessed? And you have all this - mansion and all these beautiful things. And I said, you know - the more they told me that, the more depressed I got.
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