A Quote by Paul Desmond
Sometimes I get the feeling that there are orgies going on all over new York City, and somebody says, `Let's call Desmond,' and somebody else says, 'Why bother? He's probably home reading the Encyclopedia Britannica.'
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I see it every day: People trying to create a home that somebody else tells them they should have. I don't care if it's a magazine or a bossy friend - when somebody says, 'This is what's elegant, this is what's trendy,' if it doesn't represent you, you're not going to be happy.
It's important, therefore, to know who the real enemy is, and to know the function, the very serious function of racism, which is distraction. It keeps you from doing your work. It keeps you explaining over and over again, your reason for being. Somebody says you have no language and so you spend 20 years proving that you do. Somebody says your head isn't shaped properly so you have scientists working on the fact that it is. Someone says you have no art so you dredge that up. Somebody says you have no kingdoms and so you dredge that up. None of that is necessary. There will always be one more thing.
I struggle with my training sometimes. The thing I look at is if you keep getting up and moving forward, you'll be successful. That's the way I've lived my life. I'm not going to stop doing something because somebody says it's time. I'm going to stop it when my body says it's over or the fans say, 'we're done watching you.'
'Singing Saw' was exactly seeing through my eyes; 'City Music' let me write from somebody else's perspective, somebody living in New York.
I'm from New York, and I started in New York, which I think is a huge advantage because I wasn't overwhelmed by the city. I understood the city. All of the distractions that could come with somebody that started comedy in New York didn't really happen for me.
I avoid listening to too many people's comments about my script. I have learned to take in what is of use. It's too frustrating looking at somebody's notes who didn't get what you were doing. If somebody says, 'This stinks, and here are all the reasons,' that's not going to help you.
Well we didn't look at it like that. We looked at it: "Why Carolyn Maloney?" Of course, we didn't know about Caroline Kennedy, but we do know and have - this is not against somebody, this is for somebody who we know has had a proven record. It's 16 years in the House, 10 years on the City Council of New York City, that she has shown her determination to pass legislation. She is - she knows how a legislature works.
New York is an ugly city, a dirty city... But there is one thing about it. Once you have lived in New York and it has become your home, no place else is good enough.
Being producer you're still going to have to sell somebody who's going to give you the money on the idea and everything like that. But it does give you a little bit more control if you're thinking in that creative process; it gives you more control to tell the story you want to tell rather than sort of just reading a script that somebody else wrote and says, "Yes, please, you can hire me for this job." So it's a little bit more hands-on, a little bit more closer to the heart.
I think what I learned is that just because somebody says you can't talk to them or just because somebody says they don't have an answer for you, you don't stop.
I can't understand how some bands are criticized for doing something different and other bands are rewarded for doing things different. At the end of the day, I throw my hands up in the air and say, "F**k it." I've come to accept that no matter what we do, there's going to be somebody out there on the Internet that says it's a piece of s**t and somebody who says they really like it. That's happened with every single album we've put out.
New York's such a wonderful city. Although I was at the library today. The guy was very rude. I said, "I'd like a card." He says, "You have to prove you're a citizen of New York." So I stabbed him.
Sometimes it comes out in what I call tricksy behavior. That's not always easy to deal with, but it's fascinating. The key thing is to make sure that somebody's tricks don't trip up somebody else.
The last page of [Lincoln in the Bardo] - without giving too much away - involves somebody entering somebody else. Not in a sexual way. But it says one of the simplest things you could ever say, which is that we must try and be inside each other. We must have some kind of feeling for each other and enter into each other's experience.
It is ridiculous that somebody picks up the phone and calls somebody they see on television. Why don't they call somebody in their area? Don't they know about that?
There's no difference between a pessimist who says, "Oh it's hopeless, so don't bother doing anything." and an optimist who says, "Don't bother doing anything, it's going to turn out fine anyways. Either way, nothing happens."
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