A Quote by Caitlin Kittredge
A lot of times with novels, you can get a really deep, engaging story, but there's not a lot happening, frankly. Those books tend to be super-literary and dense, and they require a lot of commitment, and that's not necessarily a bad thing, but if you want fast-moving action and gore and plot and excitement, you can get shorted on that.
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A lot of times in this business, we are taking advantage of hot times in our career to do a lot of TV and a lot of radio and that sort of thing, and George is able to be so humble that he can get away with not doing those things.
But I'm not a small-literary-novel kind of guy, and once I'd developed the world in the first couple of hundred pages, I felt that there was potential here to go on and write an engaging story set in that world. So that's what I did. This probably ruins things both for the people who want small literary novels and for those who want action-packed epics, but anyway, it's what I wrote.
A lot of times, when you have a story of minorities in America, it's always this super, oppositional thing. It's segregation, it's the racism, and those are the hard facts of the story.
I didn't get a lot of industry action after 'Fast Times.'
When I got to Hollywood, at first I couldn't get a lot of jobs. So I grew a beard and look like a really bad Arab, and I started to get a lot of work because that's what they want.
You know a lot of times wrestlers get too full of themselves. They can't separate themselves from the characters. They get used to the excitement, the energy, the lifestyle and the money and with a lot of these guys, when it stops, they self-destruct.
I think, a lot of times, network shows are under a lot of mandates. There's a lot of moving pieces. There's a lot of money. There's a lot of people who are going to be disappointed if anything goes wrong.
L.A. is a big city that has a lot of music in it but is not necessarily known for it. A lot of musicians got lost in that. You can make a living; you can gig a lot within the city and never get out of it. That was something that me and my friends, our generation, were afraid of happening to us.
A lot of the TV shows, they do long hours, and they do a lot of days, and you don't get a lot of time. But the good thing is, if you get one that's made in L.A., or made in a place you want to be, you get to go home every night.
Actors tend to get in their own way, a lot. A lot of times you will do things that will screw up your audition process. I was very bad at auditioning, and I always went in to it saying ‘God I hope I don’t screw this up.’ But at the same time, the directors are saying, ‘God, I hope this person is the savior.’ You have to remember is that the worst thing that could happen is you don’t get the job you don’t already have.
There's a lot of good fans out there, but there's also a lot of bad - I don't want to say bad people, but a lot of people who just want to try to get on your nerves and stuff like that, man.
I feel like a lot of times when you get signed to an agent they just send you everywhere, so I still audition for a lot for voiceover stuff. I actually don't book a lot of it, and I love doing it so I get disappointed because I want to do more voice stuff.
"I Get Along Without You Very Well" is not as well-known. It's complicated. First of all, it's range-y. It's not necessarily an easy sing. It's also deep. A lot of times people just don't want to go there.
Plots are artificial. Does your life have a plot? It has characters. There is a narrative. There's a lot of story, a lot of character. But plot? Eh, no.
A lot of times,, you are not going to fit in; a lot of times you are going to have to skip those parties to get to where you want to be.
I find that a lot of my best character stuff and ideas come unwittingly from novels. In scripts, it's a lot about the outward signs of whatever's happening - you have the end result. Whereas in a novel you get a buildup of the whys and wherefores, and you're let into the backstory.
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