A Quote by Steven Wright
Very rarely do I talk off the top of my head on stage. I'm not an improv guy. I'm a writer-guy who presents what he's written.
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I'm always very happy to talk to people. I relate to people, and the guy on stage is very much the guy that's off stage. People know when it's fake.
I take that stage, and I'm the same guy backstage as I am on the stage. And you know what that guy is. That guy is a star. That guy is a champion. That guy is the guy that put '205 Live' on the map.
When my career took off like a rocket in '97 - me against the nWo and Randy Savage - I wasn't just a top guy, I was the top guy, and then in '98, I blew my back out.
If you're a top 10 guy you should pay a top 10 guy or even a top 5 guy what he deserves, whether it's a lightweight or a heavyweight.
I'm the guy who will persist in his path. I'm the guy who will make you laugh. I'm the guy who strives to be open. I'm the guy who's been heartbroken. I'm the guy who has been on his own, and I'm the guy who's felt alone. I'm the guy who holds your hand, and I'm the guy who will stand up and be a man. I'm the guy who tries to make things better. I'm the guy who's the whitest half Cuban ever. I'm the guy who's lost more than he's won. I'm the guy who's turn, but never spun. I'm the guy you couldn't see. I'm that guy, and that guy is me.
You talk about a guy like Rex Tillerson, right? I don't know what the guy makes at ExxonMobil, but it's one of the top companies in the world.
I see manuscripts and books that are spoiled for the literary reader because they are one long stream of top-of-the-head writing, a writer telling a story without concern for precision or freshness in the use of language. Some of this storytelling reads as if it were spoken rather than written, stuffed with tired images that pop into the writer's head because they are so familiar. The top of the head is fit for growing hair, but not for generating fine prose.
I do believe, whenever this is all said and done, we won't talk about Mickey Gall, the guy that beat CM Punk; we'll just talk about Mickey Gall, the guy who is a top 10 fighter, a good welterweight or maybe a great welterweight.
I learned this lesson very quickly when I came into the NBA: Almost all the media and accolades go to the No. 1 guy. But if you're building a team, the most important player is the No. 2 guy. Because if the No. 2 guy wants to be the No. 1 guy, you have a major problem.
I still think of that guy I was without a wife or kids, and I still want to entertain that guy. The lonely guy, the frustrated guy, the guy with no money - this is the guy who needs to laugh.
Between me and my wife, there's this joke where I'll be doing some fun interview, and I'll get off the phone and be like, "That guy was an idiot." A lot of times, interviews are like being asked a list of questions. Invariably, there will be this part where they think you're a writer for Letterman: "Just off the top of your head, tell me the 10 most influential bands on you." And you're actually asked to come up with a spontaneous list. It's like, "Dude, I'm not living in High Fidelity."
The problem was, you couldn't have one without the other. There couldn't be a bad guy unless there was a good guy to create the standard. And there couldn't be a good guy until a bad guy showed just how far off the path he might stray.
What defines greatness is when you hold all the records and what you mean to your fans, on and off the field, because that is who ranks you as the greatest receiver of all-time. The guy that holds all the records, the guy that has set the stage for all of us, you have to give it to Jerry Rice.
I was the cocktail waitress, and Sandra Bullock was the host, and this guy came in and persuaded me to try improv with Gotham City Improv.
I think with improv - and I say it all the time because it's become such a catch thing that you talk about improv - if the scene is well-written, you don't need to improv. But that being said, if something strikes you in the moment and, most importantly, you know where the scene is supposed to go, it's no different than method acting.
When he was not talking about race, David Duke was a very pleasant guy to talk to. He was a very nice conversationalist. He seemed like a regular guy on the phone when the subject wasn't on race and on Jews and ethnicity.
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