A Quote by Troy Carter
When you have to negotiate for survival, and you have to know how to read rooms, and you have to know who the bad guys in the rooms are - who has the gun in their pocket, who's just going to brandish it, and who's going to actually pull the trigger. So I think that's just a natural instinct that comes with coming from where I come from.
Related Quotes
Gun control? It's the best thing you can do for crooks and gangsters. I want you to have nothing. I'm a bad guy; I'm always gonna have a gun. Safety locks? You will pull the trigger with a lock on, and I'll pull the trigger. We'll see who wins.
We're told that independent film lovers... folks that are used to watching art house films, won't come out and see a film with black people in it - I've been told that in rooms, big rooms, studio rooms, and I know that's not true.
Now, in the sixties we were naive, like children. Everybody went back to their rooms and said 'We didn't get a wonderful world of just flowers and peace and happy chocolate, and it won't be just pretty and beautiful all the time,' and just like babies everyone went back to their rooms and sulked. 'We're going to stay in our rooms and play rock and roll and not do anything else, because the world's a nasty horrible place, because it didn't give us everything we cried for.' Right? Crying for it wasn't enough.
America’s drug problem is not going to be solved in courtrooms or legislative hearing rooms by judges and politicians. It will be solved in living rooms and dining rooms and across kitchen tables – by parents and families.
When I am in New York, you know, my studio is big, about 20,000 to 25,000 square feet, and I have painting rooms and rooms I do etching in, rooms I do lithographs.
Ideas pull the trigger, but instinct loads the gun.
If you're going to kill someone there isn't much reason to get all worked up about it and angry - you just pull the trigger. Angry discussions beforehand are a waste of time. We need to smile at Novell while we pull the trigger.
I think working with our producer Dan Cornith, he was in the same boat with us. We tracked in rooms in a huge warehouse just to give it a try. We didn't know what it was going to sound like - it might have sounded horrible, but it ended up sounding really good, just trying new things. It was a lot of fun.
The public interest always surprises me. I come to work in these rooms with no windows. At night I go home. I just live my life. I guess I just don't think much about whether people are going to watch. Most of my friends don't know much about what I do, and we don't talk about it. I have a different life away from work. Which is fine, because my work can get pretty intense.
Almost every time I go to the ocean, I think about throwing my phone right into it. Sometimes, you pull that thing out of your pocket, you look at it, and you're like, 'What was I just going to do with this? Was I going to take a note? Was I going to check my email? Was I going to take a picture?'
There have been days where I've had two writers' rooms or three writers' rooms going, and you walk back and forth. And then you sort of throw yourself on the sofa, and you go, 'Just talk at me for, like, 20 minutes,' and my brain will catch up with this particular story. But I find that exciting.
Just make sure that you know what's going on with your money and you know where you money is coming from and how much is coming out and going in.
Twenty years ago, you'd see guys busting rackets in locker rooms. Today they do it in their hotel rooms.
We fret about words, we writers. Words mean. Words point. They are arrows. Arrows stuck in the rough hide of reality. And the more portentous, more general the word, the more they can also resemble rooms or tunnels. They can expand, or cave in. They can come to be filled with a bad smell. They will often remind us of other rooms, where we'd rather dwell or where we think we are already living. They can be spaces we lose the art or the wisdom of inhabiting. And eventually those volumes of mental intention we no longer know how to inhabit will be abandoned, boarded up, closed down.
There's something about the processional nature of the architecture, of the rooms connecting rooms. It's just breathtaking.
When I'm improvising, I'm out of my head. I've done a lot of projects recently where there hasn't been a script. It's all been based on outlines. At first, that's terrifying, just because you don't have the words in front of you and you don't know how it's going to come out, but that's what's really exciting about it. You don't know what's going to happen. It really forces you to listen to the other people, and I think the most natural acting comes out of that.
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