A Quote by Howard Stern
My show was revolutionary, ground-breaking. When I came on the scene, people were not doing a thing.
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Every day, every scene, you were like, "My god. I'm doing a scene with Brian Cox today and then I'm onto a scene with Stephen Rea." For us young actors, I think we were all very, very star-struck and impressed by the caliber of everyone who came out.
Revolutionary politics, revolutionary art, and oh, the revolutionary mind, is the dullest thing on earth. When we open a revolutionary review, or read a revolutionary speech, we yawn our heads off. It is true, there is nothing else. Everything is correctly, monotonously, dishearteningly revolutionary. What a stupid word! What a stale fuss!
In my last scene in 'Breaking Dawn,' Bella has just died and I run outside and crumple to the ground and just lose it. I'm bawling. That was my last scene of 'Twilight' ever and I definitely had some extra motivation.
Warfare is a means and not an end. Warfare is a tool of revolutionaries. The important thing is the revolution. The important thing is the revolutionary cause, revolutionary ideas, revolutionary objectives, revolutionary sentiments, revolutionary virtues!
Whoever sides with the revolutionary people is a revolutionary. Whoever sides with imperialism, feudalism and bureaucrat-capitalism is a counter-revolutionary. Whomever sides with the revolutionary people in words only but acts otherwise is a revolutionary in speech. Whoever sides with the revolutionary people in deed as well as in word is a revolutionary in the full sense.
When I was on 'The Golden Girls,' we'd have eight scenes per show. And when 'Seinfeld' came along, they went to, like, 30 scenes a show, which was revolutionary. 'Arrested Development' has probably got 60 scenes per show. It just keeps emerging as this more and more complex thing. I always try to keep it very simple at its heart.
The two most important things about people on a revolutionary team are their ability and passion. Their educational level or work experience is meaningless--most of the engineers who did ground-breaking work of the Macintosh design didn't even graduate from college.
A comedy scene can't really have two weirdoes in it. It doesn't make any sense that way, so you need someone to ground it and call out what's unusual about this person and this scene. Early on, I got pretty good at doing that, and I felt pretty comfortable doing that.
If somebody came up with a really good idea, everyone would back it. Especially when we did the show, we had a real dedication that, if you were in somebody else's scene, everyone worked their hardest to make that scene good.
When I came on the scene, there was The Nualas, who were doing character comedy, but there weren't any other women doing stand-up because Michelle Read had gone more into theatre.
I was one of those people at one point who was scared to put my foot down and show where the boundaries were. For me, it's really important to stand your ground and know exactly what you are, where you wanna be, and what you're doing, or else people are gonna try you.
The Ramones are the type of group where it took the world, like, 30 years to catch up with them. Because we were kind of breaking new ground, coming up with new ideas and different concepts which kind of blazed a trail for a whole new music scene, really.
Revolutionary politics, revolutionary art, and oh, the revolutionary mind, is the dullest thing on earth... What a stupid word! What a stale fuss!
I got in trouble in film school at USC because one of my Super-8 movies there, in the first semester, involved a snowmobile chase scene. I made an action scene, and they were like, 'That wasn't what you were supposed to be doing.'
I came to NBC on 'Friday Night Lights' and they have supported that show and found ways - unprecedented ways - to keep it on the air for a long time. And when I came to them with the idea of doing 'Parenthood,' they not only supported me in doing it but also got behind it in such a way that we were able to put together this incredible cast.
I suppose in some ways doing some of the songs in the show felt a bit like I was doing cover versions. I was covering myself. Not that they didn't feel like my songs, but the way I was approaching them was from a place so outside where they were written. The fact that these songs were in the context of a live show was a new thing.
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