A Quote by Tracy Morgan

When I want to work on my material, I go to Benihana or the barbershop. — © Tracy Morgan
When I want to work on my material, I go to Benihana or the barbershop.
I really don't want to go to work every day convincing myself of what I'm saying. I want the material to make me a better actor; then I try to return the favor to the material.
Every barbershop has a guy who wrecks shop every time he comes in. He has the whole barbershop laughing. That doesn't mean he's a comedian.
I think an editing style is something that is ascribed to the work after-the-fact. I don't think you go in with a particular intention, but I think if there is an integrity to the work and the material you are working with, the work comes from the nature of that material.
From now on, I will work with other people's material if it fits where I want to go.
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
I want to be able to go wherever I want to go, do whatever I want to do. I guard the material and the filmmaker.
I think of fans like a barbershop. I want that debate.
I go into meetings with some film-makers and they literally have nothing to say, they're almost bored by their own material. I'd rather work with people who are very passionate and very animated about what they want to do. People who just want to tell stories.
When you're in love with the work, the energy comes more naturally. You want to wake up in the morning to write more material, or to go on stage and give every shred of emotion you have.
No matter what barbershop you go to, there's always that guy who's just hanging around and doesn't do much, but knows everything that's going on in the community.
A big part of making an album is that you want to have enough material - you want to have enough stuff for people to hear and know that it represents you. So it does sometimes turn into a situation where you're saying to the person you're working with, "Well, what do you want?" But then there are other times when I work with people and they'll turn to me and say, "How do you want to do this?" And that's actually when I work best.
Those titles, Executive Producer or actor, are unimportant. I always try to approach my role as an artist. The first thing you want to do, that you attempt to do as an artist, is to have some sort of input into the material that you are working on. That is how my process begins; I say to myself: "I want to do this kind of work or I want to do that kind of work."
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
To maintain a consistency when people come to see the band takes a lot of work; it takes a lot of discipline. I go to the studio every day and sing and play. I never did that when I was, like, 30. I'd probably have a drink and walk on - and see what comes out. But now if there's ten albums' worth of material people are coming to hear some of, and they've paid money for a ticket, you become a different person when you go on and you want to give the best show you can. You want to be better at what you do.
[When you are an actor] it's not a burden to go to work whether it's hard work, whether it's super early work, whatever. So, I go there because I want to be there. I want to do this. That helps a lot.
I want to go Africa. I want to go to China. There are some places I want to go not to work, but to really explore and to see for my own education.
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