Whenever life gets to be too much for me, I have a hard time keeping my eyes open. Sleeping is cheaper and safer than drinking. It keeps you from saying or doing things you'll regret later, and though you may have nightmares, you won't wake up with a hangover. I recommend it wholeheartedly.
It feels great to wake up feeling healthy, awake and alert. I love waking up in the morning, taking a deep breath, reading the newspaper and going to the gym - as opposed to carrying a hangover right until lunch. That's horrible. It is nice to let off steam once in a while, but I find myself less involved with people in that sense. I like staying at home, reading a book, having a chat with my wife, a quiet dinner and going to bed early. I don't want to drink half a bottle of whisky and look 50 the next day. I have become an anti-drinking, anti-smoking agent.
Might let him take it home and slaughter that/ He got friends for all of my friends/ They ain't leaving 'till we say when/ And we gon' hangover the next day.
If the first ‘Hangover’ movie were this awful, there never would have been a Part Two. This is a joyless, unfunny mix of comedy and drama, a complete waste of time, with exactly one good joke in the entire movie. It comes in the first minute. After that, you can leave.
If any player has a bad game its there in the back of your mind in the next game. Theres always a hangover. It is like a wounded animal in a way, as you want to get out there as quick as possible and rectify it.
Post-structuralism is among other things a kind of theoretical hangover from the failed uprising of ‘68, a way of keeping the revolution warm at the level of language, blending the euphoric libertarianism of that moment with the stoical melancholia of its aftermath.
Americans also seem to believe that the monarchy is a kind of mediaeval hangover, encumbered by premodern notions of decorum; the reality is that the British monarchy, for good or ill, is a modern political institution - perhaps the first modern political institution.
If arrogance is the heady wine of youth, then humility must be its eternal hangover.
I think that-that anyone, the painter, the musician, the writer works in a-a kind of an-an insane fury. He's demon-driven. He can get up feeling rotten, with a hangover, or with-with actual pain, and-and if he gets to work, the first thing he knows, he don't remember that pain, that hangover-he's too busy.
What to me is anathema - a corpse-like, outmoded hangover - is for photography to be a bad excuse for another medium. ... Is not photography good enough in itself, that it must be made to look like something else, supposedly superior?
Theres nothing like taking two flights when you have a horrible hangover. Its bad when people can see actual alcohol seeping out of your disgusting pores.
There's a darkness under 'The Hangover' because ultimately there's a missing person and it's not really that funny. There's a sort of darkness under it that I love, and still people are laughing as hard if not harder than they did in 'Old School.'
I've loved 'Vanity Fair' since I was 16 years old. You know, we're all colonial hangovers in India, steeped in English literature. It is one of these novels that I read under the covers at my convent boarding school in Simla.
I think that 'Hangover II' is as funny as 'The Hangover I,' honest to God, but I think that it's a little bit darker, and the stakes are a little bit higher.
The piano song that I do in the movie [The Hangover], it's a great example, that was never - that wasn't in the script.
I was just fooling around with the piano and Todd [Phillips] was like, 'Hey there's a great spot in the movie [The Hangover] where we need a little bit of a breath in the narrative. You should write a song and stick it in there.' And I was like, 'Well, what should the song be about?' And he said, 'The tiger.' 'Oh, okay.' So I went off and I wrote this song. I came back and Todd and I tinkered with it a little more and then we shot it right then. It all happened in a day.
Let's just say it was damn hard [to make the Hangover]. I've got the bumps and bruises to show for it. It's funny because things that don't even look that bad on screen were still extremely painful.
What's cool is that in the story of the movie [The Hangover] our characters are also really kind of getting to know each other and bonding over the course of the movie. And I think you're seeing a real, a literal sort of friendship growing both in us as actors and on screen as characters.
I mean they [ Bradley Cooper, Zach Galifianakis] are both just really good guys and also they're both extremely funny in very unique ways. We made each other laugh an awful lot, and that goes a long way. And we also went through some hard times. I mean it was hard to make this movie [The Hangover].
We played around and improvised a ton [in The Hangover], and I think it's hard to say at this point what's what. Gosh, I wouldn't even know how to take a stab at it. The script was so good that we really didn't need to improvise very much, but I think we just found a lot of moments on the set. It's really cool when you get onto the set of a movie and you start shooting the scenes and you start to actually incorporate the environment.
One of the biggest breaks we had actually, one of the biggest, the hardest I laughed on the movie [The Hangover] was the baby was just doing ridiculous things and making hilarious faces. But I'm sitting there and I'm supposed to be having this exchange with Zach [ Galifianakis] and the baby is like staring at me with these huge eyes and acting, and just making the most cerebral faces, and I could not keep it together.
I'm sort of laughing and so Zach [ Galifianakis] started laughing [on the set of The Hangover]. And Todd [Phillips] was baffled because what we were saying wasn't that funny, you know what I mean? And it was like all the baby's face. So Todd was like, 'What is going on? Get it together guys.'
When you're in a daze - whether it's from running or a hangover or whatever else - I think that ideas from your subconscious can slip through more easily. The way that I write songs, for what its worth, when I'm playing music, if it's good music it will bring images forward into my mind and then I'll write down what the images are and that becomes the lyrics. I think that process is just easier if the superego has just gone away in disgust for the day.
Mystery fiction is, after all, a substitute for tranquilizers, strong drink, and bad, if diverting, companions. One slips into bed ... onto the train ... into the chair in the sickroom ... and is suddenly transported to a place where light fights dark and wins. When the story's over, one is left without a hangover, without remorse. Can any other opiate make that claim?
The hangover became a part of the day as well allowed-for as the Spanish siesta.
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