It's really scary, when you're on the verge of becoming a teenager, and you don't know if people like you for you or if they like you for the show you're on. So I started finding friends who were not that way, who are accepting and see you who you are.
I love playing rock music, man. You give me a guitar in my hands, and I go out there, and, for me, it's like...you know, some dudes like hunting, fishing, going out and playing ball in the backyard with their buddies on a rainy day. I like being out with my buddies playing rock guitar. That's what I love to do.
The most important part of a city is its people. In fact, people for me are like little cities. When you meet someone, it's like you've found a new city to explore. You take a tram, visit the museums and operas and cafes.
I think a lot of people feel like they still have something to prove, because when you get in and you're chasing success, you always feel like you have something to prove. But at this point, I feel like an underdog, and I actually like being in that position.
I want to create music that you can just vibe to. Put in your car and just you know like you roll all the windows up and you're like dancing and you just don't know why you're dancing but the music just makes you move.
If I think back to every rehearsal process for every play I've ever worked on, there's just so much crying at home. I barely sleep. There are moments of deep despair and anxiety, and then there are moments in rehearsal that are the most exhilarating; feeling seen and seeing everybody. Feeling like you have a purpose on the planet. A huge part of the process I enjoy is watching the actors figuring out what they can handle and what they can take and what they need from the director and me.
I'm interested in the feeling of getting to zero after a play, like you're never going to do it again. That's a really scary feeling.
When you organize your work and look back at your entire production, it may feel like you're looking at a straight line, but in fact it's nothing like that. The work is very experimental and most of the time it develops like branches. I usually see a capillary, like a tree shape where there are... branches that sort of move because you're not tending to them.
The idea of feeling displaced, and never feeling safe anywhere in the world, where you always feel like you're safer if you're over there, is not just my experience. If you went to Iran today or an Iranian came to America today, or the fact that there are bombs exploding everywhere, there's just a tremendous sense of fear and feeling a desire for security.
I think it's more difficult writing what it's like to be a child. You can pretend you know what it's like, but you don't really know. The only parts I can remember is that the adults were like, "Aren't they cute?" But when you're little you're looking at the other kids like they're your colleagues. They're not like, "Oh, we're all cute little kids." They're more like your office acquaintances. It's very hard to grasp the memories of what it actually was like to be a kid.
I want to utilize social media to elevate the consciousness of those people who feel like all they want from social media is to be famous. Like, you can actually be a voice. You can actually say something that's inspiring and not just make people feel like you need to buy things and be a certain way.
Sometimes I feel like when you're in the dressing room, and you're on stage in 10 minutes, you feel like your stomach is going to explode.
I don't see any harm in letting whatever comes out come out of you, even if it's sort of weird, or dark, or painful, or too embarrassing, or whatever. I feel like you might as well get it down for yourself. It can't do anything but help you get to where you want to be by recognizing the thoughts that you're having.
I would love to be able to play anywhere, but to me the sweet spot is clubs and theaters, just because I feel like you lean in to tell a joke. You don't back up. Comedy lives in that area. I've played amphitheaters, big clubs, and pool halls, and the most fun rooms hold anywhere from 500 to 2,000 people. That intimacy is where comedy really lives.
We have so few unaffiliated public intellectuals now - people who are not beholden to a think tank, corporate-owned media, or academic department - and even many literary writers look and behave like young urban professionals and canny careerists.
There's this pet phrase about writing that is bandied around particularly in workshops about "finding your own voice as a poet", which I suppose means that you come out from under the direct influence of other poets and have perhaps found a way to combine those influences so that it appears to be your own voice. But I think you could also put it a different way. You, quote, find your voice, unquote, when you are able to invent this one character who resembles you, obviously, and probably is more like you than anyone else on earth, but is not the equivalent to you.
My parents were not formally educated. Both were cognizant of the importance of education. The teachers and ministers were the role models, and they would say, you should want to be like Miss Gardiner, you should want to be like Mr. Freeman, or be like your dad. Shun the people who don't value education.
I think my first hit was the first song I ever wrote. I actually wrote it in 2005 in college. The title of it is called "Ain't Ready”. It's just talkin about the relationship with a man and a woman, or even a woman and a woman; however you wanna look at it, and just that feeling of feeling like you're not ready for love and the other person is pushing for something that you don't want. I think that's something that a lot of people can relate to.
Alistair Crowley used to define magic as anything in which you can exercise your will in the world through the use of your mind. So what's the magical way of opening or closing that door? Well, to will your body to stand up and close or open that door, that's magic. With the iPhone, it's like you put your intent into it, and it helps you exercise that intent in the world.
People drink to numb the pain and suffering. I think it's the pain and suffering that drive you to become an artist. The art itself should be the pain, sort of exorcising every demon and making you feel like you're a person that matters.
I think a lot of people do have questions about life, 'What's the purpose of my life?', 'What's the meaning of my life?', 'Why am I here?' ... It's hard to find a place where you can discuss those issues. You can't go down to the pub and say, 'What do you think the meaning of life is?' But actually, most people have those questions, somewhere in the back of their minds. And if you can find a place where you can discuss it with a group of people who, like you, are outside of the Church, and it's a non-threatening, relaxed environment, quite a lot of people want to do that.
I feel like you have to earn something with an audience. If I just did it now, I think producers on any superhero movie, I think they wouldn't trust me to do it the way I'd want to do it, because I'd want to do something basically really strange. I think you have to earn that freedom to do stuff like that. So I think, if I keep kind of chipping away, trying to do good movies and interesting, strange movies then people will eventually trust you to do that on a bigger scale.
I don't think people are like, "I'm going to save the planet by planting my own herbs." But on environmental issues like climate change, there's a sense of hopelessness and despair. Maybe it's really a small gesture but if you can have a garden it may make you feel like you're helping in some way, or that you're making a connection. You can't change the world but you can change your backyard.
I really made the cartoon Life with Louie with one reason in mind: I didn't have a very good relationship with my dad, and we didn't all watch TV together like we should've, like you hope for, like you've seen on TV, and I wanted to make it for moms and dads and their kids. That was always my goal. And then I wanted to put real things in it. We did a thing about the homeless and won a Humanitas award for that.
In L.A., there could be a million delusional comedians or actors and they all blend in together and no one is ever like, "You're living a lie." But if you're in a small town and you're like, "I'm the funniest person here," but you're not that good, everyone's going to notice and call you out on it.
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