A Quote by Oliver Wendell Holmes, Jr.

Fame usually comes to those who are thinking about something else. — © Oliver Wendell Holmes, Jr.
Fame usually comes to those who are thinking about something else.
Fame often comes to those who are thinking about something else, whereas celebrity comes to those who think about nothing else. Celebrity is, if you like, a forgery of fame: it has the form but lacks the content.
Fame usually comes to those who are thinking about something else - very rarely to those who say to themselves, 'Go to, now, let us be a celebrated individual!'.
I care about doing the work as best as I can do, and that it should go on reaching people. It's not about fame and it's not about me. It's about creating something that might allow someone else to create something.
Romance is thinking about your significant other, when you are supposed to be thinking about something else.
Most of the brain's work is done while the brain's owner is ostensibly thinking about something else, so sometimes you have to deliberately find something else to think and talk about.
To me, my favorite joke on a stand-up special is when someone says something and you go, 'Oh my God, I've been thinking that my whole life, I've just never said it to anyone else.' Those little kinda quiet, personal observations you make that nobody else has talked about yet.
If I walk up to a can of Red Bull, I'm thinking about Formula One; I'm thinking about incredible athletic performances. And it helps me choose that can over something else to either side of it.
Something like missing a shot, and the next play you're thinking about it, or you give up a play on defense and you're thinking about it, you're frustrated about it, what's happening is that you're really thinking about yourself. You're not connected to the team. And you have to be connected, or those few plays add up.
I've always watched the Hall of Fame speeches. Thought about what I would talk about if I ever was up there. But I don't wake up in the morning thinking about wanting to be in the Hall of Fame. I really don't.
The greatest moments are those when you see the result pop up in a graph or in your statistics analysis - that moment you realise you know something no one else does and you get the pleasure of thinking about how to tell them.
Lena Dunham or Miranda July, those people are sort of thinking about their work in a slightly different way than I do, where their whole body is a seed of what they're creating. I can't imagine watching Miranda's movies with anybody else playing her role, she's so integral. But for me, it feels more like every story is really individual. If I thought of something else, or thought it should be my body representing it, I'd fold my body into it. But most of the time I'm writing to get something out of my body.
My show 'Fame: Not the Musical' is about the fact that fame is seen in two ways in our culture: either as a glittering bauble we desperately covet, or as a narrative of tragedy and despair. My own experience of fame is a third, mundane way, which often involves being mistaken for someone else - Ian Broudie from the Lightning Seeds, or Steve Wright.
When you're caught up in your career, you're not thinking about becoming a legend one day or how, 25 years from now, you'll be immortalized in something or that you might be going into the Hall of Fame.
I think there's something fundamentally wrong with thinking that there's a God who looks after you but kills everyone else. There's something, if not immoral, then gross, about it.
Never, ever, think about something else when you should be thinking about the power of incentives.
A good listener is usually thinking about something else.
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