A Quote by Roy Kesey
The biggest experiment there - and I was convinced for a really long time that it was going to fail horribly - had to do with this weird thing I do every now and then. Like everyone else, as a reader there are certain things that really rub me the wrong way in fiction - pet bugbears, let's call them.
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To a certain extent everybody has a certain sort of way of being a persona that they learn how to be when they're really little. They figure out that if they're really funny, or really pretty, or if they work really, really hard or are really smart, then that's what's going to get them by. That is what is going to make people like them.
Things change. There has to be flexibility. Let me give you an example. President Xi, we have a, like, a really great relationship. For me to call him a currency manipulator and then say, “By the way, I'd like you to solve the North Korean problem,” doesn't work. So you have to have a certain flexibility, Number One. Number Two, from the time I took office till now, you know, it's a very exact thing. It's not like generalities.
This is going to sound really corny, but it's the way I feel: Musicians have been around for a really long time. It's a really, really old job. When you look at the way that a small band toured back in the '50s, it's similar to the way that a small band tours now. It's been this long tradition, and when you meet somebody who has been doing this for a really long time, you have to have tremendous respect for them.
I can be absolutely comfortable with an apocalyptic Jesus because he was simply wrong. As long as he's wrong I don't worry about him, and basically everyone else who was announcing in the year 2000 at midnight, the end of the world is coming, I expect them to be wrong. Now if they're right of course, I'll be very uncomfortable that night. But as long as everyone for 2000 years has been wrong about the apocalypse, I can be quite comfortable with it. It's space fiction.
I actually grew fond of her in a nastily superior kind of way. For she was so completely artless and optimistic and clueless, she didn't care that she smelled bad or was fat or wore clothes unlike everyone else's, she had some weird disconnect with life that kept her constantly bubbling, and you knew she would go blithely through her long horribly boring life thinking every thing was just swell (the opposite of me).
I was a vegetarian for a really long time, from 7 to 23, so I feel like some things aren't that weird but they seem weird to me, like blood sausage or snails. Those are things I've eaten now that, years ago, it would have been totally improbable that I would have eaten.
You hear a lot of horror stories about proposing and things going horribly wrong - it went really, really well and I was really pleased when she said yes.
Picking roles, my way of choosing them is vastly different now than it was a long time ago, but I can only be that way now because of what I've learned from the past. So I'm choosing now not to choose any work, because when you've had such a nice ride, unexpected rides and fulfilling rides, you really don't want to take a step backwards. It's really made me satisfied in a way that I wasn't looking for, but I was blessed with it and now I feel really full, in a good way, where I don't need to rush out and go find something.
I really need to know where I'm going with fiction to write it in a way that at least I'm happy with. And I really think that a lot of fiction books end badly because terrific writers said, "I'll just figure it out" and plunge in, but have created so many problems that they are kind of impossible to solve. I mean, I'm talking really good writers do this and you can tell when they got to the end they either had to do something preposterous or they just don't really resolve things. So for fiction I spend a lot more time outlining and for humor I really don't do much of it.
This is a terrible confession to make, but after I left the Army I had a number of things to try. I had a great conceit to think that if all else failed I could always go to Hollywood. So when all else did fail I really went to Hollywood. And then I found out how wrong I was.
Film work can be anything from just really hard and stressful and you're subjected to really weird deadlines to really draconian and weird and disconnected. You're working in service of the thing, and that can be really amazing for everyone involved, or be kind of just a waste of time.
Certain things just rub me the wrong way.
When I watch the show [Westworld], it leaves me looking at the world around me in a new way. It really stays with you. And it's one of those things that you have to figure out. You're going to get little clues along the way, and every time you think you know what's up, we're going to flip it around. It's going to take you for a really awesome, crazy ride, but it's a really, really revolutionary character for women. There's a lot of really fun stuff to look forward to.
I want to be better every year, just like everyone else does. From what I learned from last year, I feel a lot more comfortable. I know the game and how it goes up here. You get in certain situations the first time, you really don't know what to expect. Now that I've been in them-and I've been in every situation possible last year-there's nothing new to come at me.
It was unfair that people could pretend to be one thing when they were really something else. That they would get you on their side and then do nothing but fail, and fail, and fail again. People should come with warnings, like cigarette packs: involvement would kill you over time.
I would get songs sung to me, like 'Old Man River, 'or kids would call me Mississippi and things like that. At the time, I wished I had a name that blended in more with my surroundings. Now, though, I've really learned to love it. From fifteen, I really liked it. It felt appropriate. Before that, I don't think it quite fitted me. I had to grow into it.
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