A Quote by Rickie Lee Jones

Somehow credibility comes into play if you do things that are too familiar. — © Rickie Lee Jones
Somehow credibility comes into play if you do things that are too familiar.
Some things are so impossible, so fantastic, that when they happen, you are not at all surprised. Their sheer impossibility has made you imagine them too many times in your head, and when you find yourself on that longed-for moonlit path, it seems unreal but still, somehow, familiar. You dreamed of it, of course; you know it like a memory.
It's funny; we never had anything like credibility. Even though we all have some sort of punk-rock background, but so what? I really don't care about that. What's credibility anyway? Who has credibility?
When The Fall pummeled their way into my nervous system, circa 1983, it was as if a world that was familiar - and which I had thought too familiar, too quotidian to feature in rock - had returned, expressionistically transfigured, permanently altered.
Somewhere, at some point, somehow, somebody decided that death equals credibility.
I was worried that acting would somehow ruin any credibility I had as a musician.
We don’t have to do a bunch of things to figure out how to win the Ryder Cup. Just go play golf. ... I’m a little bit too casual probably about a lot of things, but you can’t force good play. Good play comes from good hard work and actually being prepared to play, not being forced to play.
I think there's a danger of becoming too familiar with things, isn't there? That you kind of, when you're used to seeing the same things every day, you see those things come what may, and you don't see maybe the interesting things just slightly out of view behind them.
In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off putting to the audience. There is always something familiar they can grab onto.
In all my science fiction movies, I try to blend the familiar with the futuristic so as not to be too off-putting to the audience. There is always something familiar they can grab onto.
Somehow it all got too out of hand, too complicated for a simple man. Don't want to have to pick and choose, hey, look at all these things I'll never use.
When people are too present, too familiar or too in our face, something happens to us psychologically. We begin to tune them out, we begin to get sick of them, we begin to know them so well and become so familiar with who they are that we loose a bit of respect for them. You pass a certain threshold with the fact that you're too present in their lives, too much in their face and once that threshold is passed you're never going to repair it they have lost a certain respect for you.
A lot of performance is based on confidence, knowing what you're doing, and being familiar, and not thinking too much and trying to play at confident game speed.
So somehow, things that seem extraneous to the play in reality are not. The scene lasts 37 minutes, and you only need 12 minutes of that for the plot. But if you pull the rest of it out, it's not my play.
The two most engaging powers of an author are to make new things familiar, familiar things new.
I don't want to sound too spiritual, but when you are true to yourself and follow through with things that connect with you meaningfully, somehow things fall into place.
Play difficult and interesting things. If you play boring things, you risk losing your appetite. Saxophone can be tedious with too much of the same.
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