A Quote by Kim Basinger
I was doing publicity for 'The Getaway'; people were coming in from all over the world to do six-minute interviews.
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Back in the day we didn't really have time to be a live act because we were always on TV or doing live interviews. We were being flown all over the world.
It's a weird situation, doing interviews. Nowhere else in the world can you talk about yourself and have people listen like they're interested over and over. Most people, if they talked about themselves for a half an hour, you'd go, "I'll give them a miss next time." So it's kind of weird.
In terms of publicity and interviews, well, it's really hard in this modern world to keep a sense of mystery.
My restaurant, Tex Wasabi's, we have a whole 'Minute to Win It' challenge going on on Sundays already. The show hasn't even aired and they're already doing challenges where people are coming and participating. I think it's going to take over.
All the publicity, the attention, the interviews, the photographs, were too much for me (after throwing his second no-hitter in 1938).
We used to make a 'Tom and Jerry' short every six weeks and they were about six minutes long, so we were producing about a minute of animation a week.
I like in-person interviews, but I do a lot of interviews over the phone, and it's so boring. The same questions over and over.
I do need publicity but not for what I do for good. I need publicity for my book. I need publicity for my fights. I need publicity for my movie but not for helping people. Then it is no longer sincere.
The best thing about doing a signing tour is that numbers become faces. I got to sign books for six or seven thousand people, all of whom were dreadfully nice. Everything else, the interviews, the hotels, the plane travel, the best-seller lists, even the sushi, gets old awfully fast. Well, maybe not the sushi.
In terms of comedy, I never did five-minute sets or clubs or anything. I just started doing shows. Coming from that theater background, it never crossed my mind that I should start doing five-minute sets.
Entire years had passed when he was rich enough in time to disregard the loose change of a minute, but now he obsessed over each one, this minute, the next minute, the one following, all of which were different terms for the same illusion.
It's like they say in the Internet world — if you're doing the same thing today you were doing six months ago, you're doing the wrong thing. Parents can learn a lot from that.
I was told by six doctors over six days that they could start me on full-body chemotherapy. And I said, "If you know where I'm coming from, I'd rather die."
Black people didn't start coming to see me until 1982. I'd just started doing Delbert, and suddenly my world changed. I started doing black-centred characters that were about people I knew in the community.
One minute we're over here, the next minute we're doing something completely different. But it's interesting because you are producing so many things you couldn't do with analog.
I wrote 'Ain't It Cool? Hollywood's Redheaded Stepchild Speaks Out,' because in doing hundreds and hundreds of interviews over the past six and a half years, I was tired of the story being half told or a third told or erroneously told.
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