A Quote by Ronnie Coleman
I learned the ins and outs of the supplements business as a bodybuilder. I'd worked with some of the companies, and I knew a lot about the products. Some of them worked OK, and some of them didn't. I wanted all of them to work, not just for me, but for other people, too.
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Some like them hot,some like them cold. Some like them when they're not to darn old Some like them fat,some like them lean. Some like them only at sweet sixteen. Some like them dark,some like them light. Some like them in the park,late at night. Some like them fickle,some like them true, But the time I like them is when they're like you
I've taken a number of creative leaps, and some of them worked, and some of them didn't, but I don't regret any of them because you can't possibly get to the ones that work without the ones that don't.
You know . . . a lot of kids at school hate their parents. Some of them got hit. And some of them got caught in the middle of wrong lives. Some of them were trophies for their parents to show the neighbors like ribbons or gold stars. And some of them just wanted to drink in peace.
The point at which we worked with some of these actors, they weren't really stars yet. Nicolas Cage was not a big star when we did Raising Arizona. A lot of these people were also virtually unknown, too, when we worked with them first.
I write every day and I just love doing it. It's just... it's just a wonderful thing. Some of my stories work, some of them don't work. Some of them are wild and I love them, but they certainly don't fit into any kind of a normal system that I know about.
I've always wanted to work with Barbra Streisand because she's worked with some of the best background singers in the world who are friends of mine, worked with them in concert or on movie soundtracks, and I always say 'Now, where was I? Where was I when she was hiring people to work with her?'
Several nutrition companies have approached me over the years to endorse a number of different products. Some worked; some didn't - so I decided to create my own brand.
For every album we worked on, I brought in reels of tape of somewhere between fourteen and eighteen songs - some of them completed, with lyrics and melodies, some of them basic tracks. Things came out of those products. Like, for 'Hotel California', I think I had a reel with sixteen songs on it.
I've worked with some very good directors and some very bad ones. I learned a great deal from both. From the bad, untalented people, you learn what not to do. And when you work with very highly talented people, you want to emulate them.
Someone wanted me to write a profile for ESPN about the commissioner of baseball, and I said, "He's just some suit! Some Republican. No!" I mean if you want me to write about baseball, boxing or football, I'll write about those things because I watch them, I think about them a lot and I like them. But I don't want to write about Barry Bonds.
I've worked with Jack Nicholson and Robert De Niro and Tom Hanks. I've worked with some really good directors: Woody Allen, Paul Schrader... My God, I've really worked with a lot of people. But I'm intimidated by them, and I'm always thinking, "Oh, my God, he's not going to like me, and I'm going to get fired."
I grew up with a lot of guys, some of them are dead, some of them are this and some of them that, and some of them very, very powerful, bright young men, who became this instead of that simply because of a lack of guidance - that's all.
Being a sculptor who uses found objects, all the objects I use in my work have been designed by other people. So I'm tweaking them in some way by squashing them or throwing them off cliffs! Then I formalise my damage by suspending them or arranging them in some kind of way. So I'm using other people's design in a way, so I'm an 'un-maker.'
Some of the guys I played with .. didn't go around learning more about their instruments from an intellectual point of view. All they wanted was to play hot jazz, and the instrument was just a means. I'd imagine that a lot of them criticized me-said my technique was too good. Something like that. But I've always wanted to know what made music. How you do it, and why it sounds good. I always practiced, worked like hell.
There are three types of pitchers you have to deal with. Some, you just have to tell what town they're in, remind them where they are. Some, you remind them about mechanics, and some, you have to bust their tail. You have to make them your friend and have them trust you.
When I was in high school and college, I'd always been into websites, and when you'd read about sites and the companies and people behind them, they were always in Silicon Valley. This one's in Mountain View, this one's in Palo Alto. They're all right here. I knew I wanted to move out here, whether it was to work at Google or some other company.
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