A Quote by Robert Christgau

The Village Voice gave me an outlet. They encouraged writers to publish idiosyncratic, intellectually ambitious journalism in voices that ranged from demonic to highfalutin. And they paid me well once the magazine was unionized. Getting paid is motivational.
Initially, dancing for me was just for pocket money. The dancers are paid well and you get paid on a daily basis. Eventually when I got promoted as an assistant choreographer I was getting paid more. This was during my college days.
I conducted a bunch of interviews for Interview magazine. They actually paid me. I think I was probably 18 or 19. I was in college and I remember feeling, like, "Wow." I had a real job, and they paid me money, and it was exciting.
To just to get up on stage and sing every night at 9 or 10 years old was unbelievable to me. It wasn't that I was getting paid; it was that I was getting paid to do what I like to do.
Everybody, every tradesman that worked for Shafin or built my house got fully paid, well paid. Everybody got paid. I would like that to be said if I could because I haven't said it before, and it's important. People kind of think we left all these plumbers or electricians without getting paid.
Writers sometimes are paid a great deal of money, but much more frequently they're not paid or are paid only a little bit.
I grew up reading the 'Village Voice' and wanting to be one of these multidisciplinary music writers, film writers, book writers. And I lucked out getting a job at the 'Voice' right after college.
If you're on a contract at 'The New Yorker,' the contract specifies the number of words you will publish in the magazine per year. I get paid by the word, like most writers. That's one reason why the Scientology article was 25,000 words long!
I've hit a point where my big luxury is getting to work on the things I want to work on. That's my hobby. It's being able to do a movie like 'Chef,' where you don't get paid, where you get paid scale, but you get to do exactly the movie you want to do. To me, that's worth more to me than whatever money I would have gotten paid.
I'd always been a good athlete and I liked getting paid what they paid you for stunts. In those days, they paid you per stunt so I'd try to do as many as I could.
My first paid job was leading pony rides along Minehead seafront when I was eight. I probably got paid sixpence - not much but I loved horses and it gave me a great chance to be near them.
This is a turf battle. They are saying, 'The songwriters aren't getting paid.' Baloney. Songwriters are getting paid. They're paid sync rights and (mechanical) rights. They aren't getting paid for the public performance in a download because there is no public performance in a download.
If you build a car, you can only sell it once. If you paint a fence, you only get paid for it once. If you create a piece of software that's essentially free to reproduce, you can keep getting paid over and over perpetually.
Before that film, I was nobody. Each job I got, I was so excited. Each paycheck I got, I thought, 'Wow, I'm getting paid to act.' But 'The Matrix' gave me so many opportunities. Everything I've done since then has been because of that experience. It gave me so much.
I once stayed at a Ritz in D.C., paid for by a client, and when I asked to change rooms because mine smelled of smoke, the hotel immediately found me a better room, then paid for my dinner and drinks and even threw in a free massage to compensate me for the very minor inconvenience.
I have two concerns with my work: having good things to act, and getting paid. In that order. Although if you're not getting paid well, that order can change. But that's what I'm concerned about. Good scenes. Decent money.
I don't think the itch to fight has ever left me, ever. I mean, I got paid to do what I love for a living, and I got paid very well to do it. So that's going to always be there. That's always going to be like, 'Man, I wouldn't mind getting out there again.'
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