A Quote by Rodney Dangerfield
When I got back into show business in 1961, I felt - for obvious reasons - that nothing in my life went right, and I realized that millions of people felt the same way. So when I first came
back my catch phrase was "nothing goes right." Early on, that was my setup for a lot of jokes.
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Eventually I got asked to be in a Michael J. Fox sitcom called High School U.S.A. I didn’t think it was funny and said no. They doubled the money, and that kind of offended me. I realized, oh, that’s right, my opinion means nothing in Hollywood. I’d seen other people compromise, and I felt that once you gave up on what you wanted to do, you couldn’t go back. It was selling out. So I decided to go back to Minneapolis.
Often we want to go back to the familiar, go back to where we felt our life pause, but nothing is ever the same.
In the Irish Revival of 1859, people became so weak that they
could not get back to their homes. Men and women would fall by
the wayside and would be found hours later pleading with God to
save their souls. They felt that they were slipping into hell and that
nothing else in life mattered but to get right with God... To them
eternity meant everything. Nothing else was of any consequence.
They felt that if God did not have mercy on them and save them,
they were doomed for all time to come.
Some people suggested that I should try something else. It was a lot of things, but nothing really stood out for me. Nothing felt right, and this job as an actor happened by coincidence.
Not that I ever felt the necessity of proving that all human beings suffer the same way, feel joy the same way, but it happened on my way - when I get close to these people, just by the simple intervention of translation I can actually reach them and ask them something, and their reaction is as I expected. I see that the relationship goes so smoothly, and I realize that cultural languages and specificities are nothing but simple obstacles that you can easily overcome. It's obvious that human beings are the same wherever they are.
I had been played at left back, right back, and I just felt like I wasn't developing as a player. I saw the opportunity to join Tottenham and I took it, because I felt it was the best decision for all parties.
Right-wing, pivot, centre-back, full-back, right, left. I've never felt uncomfortable anywhere.
I was so thankful that I got to go back to comedy and I felt bad that I had abandoned something that I guess I was naturally given and lucky to have an loved all of my life, but didn't love it anymore because I didn't get to do it the right way.
The book is called 'Thanks for Nothing' and it's really the story of how I got into comedy and traces back every strand in my life that is relevant to that story. It's kind of an autobiography but isn't, as it stops about 25 years ago. It goes right up to the first time I do stand up.
I was born in 1961. Now I think the 16 years that elapsed between 1961 and the end of the wars is nothing. To a child growing up it felt like an eternity, an entirely different world.
The depression happened more so because when I was a little kid, I wanted to be a doctor. My heart was like, I want to save the world, I want to help people... But when I felt like nothing I was doing was right, that's the way I felt.
I stayed with my pants to the back and my big clothes for as long as I wanted to, and when I felt like, 'Oh all these girls giving body, let me show I got something to work with too.' So that's what that was all about. It had nothing to do with letting people know I was straight or gay.
I did this campaign that was called "Back to the Basics" where I went back to the street, went back to my block, and really felt the people. We've got to go back to that sometimes. We distance ourselves from that and we see it from afar. Some people can't relate back to that; once you're out of it, they don't want to relate back to that. It's always good to get back to the basics, though. You've got to touch the roots, you've got to touch those people. Regardless of what's going on, people always respect that.
I remember nothing of this, no ambulance rides, nothing. Nothing between switching out the bedside lamp and the sudden indignity of rebirth: the slaps, the brightness, the tubing, the speed, the urgent insistence that I be choked back into breathing life. I have felt so sorry for babies ever since.
After I came back [to China], there was still a long period of time when I felt I had nothing to do.
I did 'Nobody Walks' right after 'Dredd.' Well, actually, I got off the plane from Capetown where we shot 'Dredd' and tested for 'Being Flynn' that same day. Then I came out to L.A. to make this film right after that so it was all very back to back.
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