A Quote by Jonathan Dee

I once saw John Updike get in front of a crowd and read a story that he'd written in 1958, and I just thought, I can't even look at stuff I wrote a year ago, I can't believe he's doing this.
I once saw a picture in the paper of John Hegley with 'poet' written on his knuckles, and I thought that was pretty cool, so I was quite up front about it.
I never even thought of myself as deadpan until someone wrote an article about me about a year after I was doing comedy. There was a paper called the 'Boston Phoenix,' and someone wrote a description of what I was doing and that's where I first saw 'deadpan.'
Well it was a lot fun with John Boy and stuff, but I always knew that I wanted to be on the front of the stage even when I was playing drums. I don't have anything against John Boy, I just wanted to be on the front of the stage.
But Jesus wanted the crowd to know, look, 'John's (the baptist) the one who got this whole thing started.' In verse ten He says, 'This is the one about whom it is written, 'I'll send my messenger ahead of you who will prepare Your way before You.' Jesus says, 'If it wasn't for John, I wouldn't even be here performing these miracles.'
I kissed John Updike as he presented me with an award. It wasn't the best kiss as far as kisses go, but I hold the fact that I kissed John Updike, that he kissed me, very close to my heart.
I had written a story. I wrote the story out of some desperation, really, and I didn't know I was writing a story, and it took me years. And when I finished, a friend of mine had the idea that the story should be read as a monologue in a theater.
Sad to think that we won't have any new stories from John Updike, one of the last century's masters. But so many here in the two volumes of his collected stories, 186 by my count, stories to read, reread, savor over the course of a cold season. Updike's genius in the short form spills out of these many, many pages.
I look at some of the songs I wrote years ago and I can't believe I wrote such crap.
Even in a given territory what would work in one city in front of one crowd might not work in front of another crowd. Every crowd is different in what they are looking for and what they'll respond to.
My live performance, it just comes from feeling an energy and emotion from the crowd. Just going out there and doing my own stuff and being in front of my own people. I love it.
When I first read the script a few years ago I thought it was one of the best written scripts I had ever read.
John Cassavetes wrote A Woman Under the Influence as a play. He said, "Hey, I wrote you a play." And I said, "Great, let's read it." I read it and I said, "John, I couldn't do this every night and twice on Wednesday and Saturday".
I could never write about the sort of people John Cheever or John Updike or even Margaret Atwood write about. I don't mean I couldn't write as well as they do, which of course I couldn't; they're great writers, and I'm no writer at all. But I couldn't even write badly about normal, neurotic people. I don't know that world from the inside. That's just not my orientation.
I'm out there to clean the plate. Once they've read what I've written on a subject, I want them to think, 'That's it!' I think the highest aspiration people in our trade can have is that once they've written a story, nobody will ever try it again.
People apparently only read mystery stories of any length. With mysteries, the longer the better, and people will read any damn thing. But the indulgent, 800-page books that were written a hundred years ago are just not going to be written anymore, and people need to get used to that.
It was, when I read it, I thought, such a beautiful script. I loved the story. I thought it was well handled. I thought it was even more moving because it was a true story and that made it even more poignant.
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