Primetime Emmy Award winners

"What she doesn't say is just as important as what she does say -- but there's so much more of it. I think from now on I'm going to stick to what she actually does say because I don't have that kind of time."

"I hate going to funerals because I'm not a mourning person."

"The '80s to me, more than anything else, represents a time of real criminal activity in the office of the president: an incredibly disparate economy in terms of the class distinctions and whatnot, and a tremendous shallowness—a lot of sort of bank robbery by executives. This is the '80s to me. And a lot of synthesizer music. And, of course, Madonna and the beginning of MTV."

"I like to try new things. I like to go new places and I like to work with new people. That’s sort of the definition of my job. As an actor, you just go where the work is, right."

"So much of what we do is ephemeral and quickly forgotten, even by ourselves, so it's gratifying to have something you have done linger in people's memories."

"There’s a very basic human, non-verbal aspect to our need to make music and use it as part of our human expression. It doesn’t have to do with body movements, it doesn't have to do with articulation of a language, but with something spiritual."

"I hadn't heard of either disco or Meco. When I was asked to listen to Meco's now-famous recording, I was a little apprehensive, wondering how a pop record could be made from "The March from Star Wars" and what it would be like. I immediately liked what I heard and sensed that a genuine communication was taking place. Meco took things forward another step by bringing Star Wars to a vast audience who otherwise would not have heard it in its original symphonic setting. I am most grateful to Meco for all of this and I am delighted that 'disco' and 'Meco' are now household words."

"Leroy Anderson is an American original - direct, honest, personal, idiosyncratic, and free of pretension. His music is directed to, and reflective of, the American soul."

"Without John Williams, bikes don’t really fly, nor do brooms in Quidditch matches, nor do men in red capes. There is no Force, dinosaurs do not walk the Earth, we do not wonder, we do not weep, we do not believe."

"It seems beyond the comprehension of people that someone can be born to draw comic strips, but I think I was. My ambition from earliest memory was to produce a daily comic strip."

"A cartoonist is someone who has to draw the same thing day after day without repeating himself."

"I never give my work to somebody else and say, "What do you think about that?" I just don't trust anybody. If I think it's funny, or if I think it's silly, I send it in anyway because I'm just trying to please myself. I never try to please a certain audience. I think that's disastrous. There's no way in the world you can anticipate what your reader is going to like or dislike."

"If I were a better artist, I'd be a painter, and if I were a better writer, I'd write books — but I'm not, so I draw cartoons!"

"I just draw what I think is funny, and I hope other people think it is funny, too."

"The only thing I really ever wanted to be was a cartoonist. That's my life. Drawing."

"Don't worry about the world coming to an end today ...... It's already tomorrow in Australia."

"A bear and a rabbit were taking a dump in the woods. The bear turns to the rabbit and says, "Excuse me, do you have problems with rubbish sticking to your fur?" And the rabbit says, "No." So the bear wiped his butt with the rabbit."

"There's somethin' about singing, that is the business! You sing, women go crazy! 'Cause Mick Jagger is an ugly idiot...with big lips! Mick Jagger's lips so big, black people be goin', 'He got some big lips! These are big lips!'"

"Michael Jackson, who can sing, and is a good lookin' guy - but ain't the most masculine fellow in the world."

"You don't even have to be able to talk. Just sing and get famous. 'Cause James Brown's been singin' 30 years. I don't know what James is talkin' about!"

"(About Stevie Wonder) I got mad, I was hanging out with Stevie two months ago. I said, 'Look, Steve, I get too much flak over this impression. I don't like doin' it, I ain't doin' this calamity no more.' Stevie said, 'Well, I feel that...' I said, 'Shut up, Steve.' 'Cause you've gotta cut Steve off, 'cause if he get a roll goin' he'll talk your ears off! You ever see Steve win a Grammy and go up and give one of them long acceptance speeches? They say, 'And the winner is Stevie Wonder!' Stevie be goin, 'I'd just like to say...all the people in the world today...God's children...' 'Look, just take the award and get out!' 'Cause the credits be rollin' and Stevie be up there goin' 'And I'd like to thank...' I be in the car, I just said 'Shut up, Steve. I'm tellin' you, you a genius and all that stuff, but you my boy, man, we hangin', man. It's nice and stuff, but I don't appreciate all the flak. And personally, the piano and the singin' and all that, I told you how I feel about singin' man, I ain't impressed. You wanna impress me, take the wheel for a while, idiot!'"

"(Impersonating an angry fan) 'I heard that, man! That wasn't funny! Then I suppose at the end of your little sketch, Stevie crashed into a tree, right? Ha ha, very funny, meanie! Your buddy got a wooden leg with a kick-stand, idiot! Your mother got a mouth in the back of her neck and the chew like this! (Nods his head up and down)"

"(Impersonating his father, drunk at the family cookout) Gus?! What is wrong with your wife?! Why can't she walk a flight of steps?! You come here every year, Gus, and you burn down my backyard, and your wife rips down the steps! Why?! I work hard to get my place beautiful! And then the bully come over and rip the steps down! Look at the steps, they're messed up, Gus! Why can't she walk the steps? You know why she can't walk the steps? 'Cause she's a fat, hairy idiot!!"

"(Impersonating his father ranting drunkenly at the cookout) I'll tell you somethin'! You can take your hairy, fat moustache out the heck!! You can go upstairs and get the dog and scoop up the trash, and take Eddie and get these long, Angela Davis afro-wearin' kids of yours and put them in the guni-gugu-mobile and get out!!"

"I have nothing against weirdos. I think an orgasm is your thing, and you should forget whoever you feel like forgetting. Whoever makes you cum the hardest. Anybody who says you shouldn't, politely tell them to mind their own business."

"If trees could scream, would we be so cavalier about cutting them down? We might, if they screamed all the time, for no good reason."

"I can picture in my mind a world without war, a world without hate. And I can picture us attacking that world because they'd never expect it."

"If a kid asks where rain comes from, I think a cute thing to tell him is "God is crying." And if he asks why God is crying, another cute thing to tell him is "Probably because of something you did.""

"It takes a big man to cry, but it takes an even bigger man to laugh at that man."

"IF YOU ever drop your keys into a river of molten lava, let 'em go, because man, they're gone."

"TO ME, it's a good idea to always carry two sacks of something when you walk around. That way, if anybody says, "Hey, can you give me a hand?" you can say, "Sorry, got these sacks.""

"IF YOU GO through a lot of hammers each month, I don't think it necessarily means you're a hard worker. It may just mean that you have a lot to learn about proper hammer maintenance."

"MAYBE in order to understand mankind, we have to look at the word itself. Basically, it's made up of two separate words — "mank" and "ind." What do these words mean? It's a mystery, and that's why so is mankind."

"I guess we were kinda poor when we were kids, but we didn't know it. That's because my dad always refused to let us look at the family's financial records."

"I don't know what my fans are going to think. It's definitely not what they're used to from me."

"I think that the online world has actually brought books back. People are reading because they're reading the damn screen. That's more reading than people used to do."

"I think The Razor's Edge is a pretty good movie. But at the time, it was just as reviled as any other comedian doing a serious thing now. Like The Majestic [with Jim Carrey], movies where comedians go straight, people don't like them. It angers people, like you're taking something away from them. That's the response I got. I thought, "Well, aren't we all bigger than that?" I wasn't shocked by it, but I thought that the professional critics would be able to say, "OK, we shouldn't rule this out, because the guy normally does other stuff." Unless it's really despicable, then you have to just jump with both feet on the neck."

"I think romance basically starts with respect. And new romance always starts with respect. I think I have some romantic friendships. Like the song “Love the One You’re With”; there is something to that. It’s not just make love to whomever you’re with, it’s just love whomever you’re with. And love can be seeing that here we are and there’s this world here. If I go to my room and I watch TV, I didn’t really live. If I stay in my hotel room and watch TV, I didn’t live today."

"Melancholic and lovable is the trick, right? You've got to be able to show that you have these feelings. In the game of life, you get these feelings and how you deal with those feelings. What you do when you are trying to deal with a melancholy. A melancholy can be sweet. It's not a mean thing, but it's something that happens in life — like autumn."

"I always like to say to people who want to be rich and famous, try being rich first. See if that doesn't cover most of it."

"I suppose we should never be horrified by what we see in the mirror. Or maybe we should never wish to be content with what we see in the mirror."

"This isn't the old Mister Sunshine."

"When Piedmont died, I had to pay him back for my life. I found out there's another debt to pay — for the privilege of being alive. I thought Sophie was my reward for trying to live a good life. Uh uh. There is no payoff — not now."

"Life is about not knowing, having to change, taking the moment and making the best of it without knowing what's going to happen next. Delicious ambiguity."

"It is so hard for us little human beings to accept this deal that we get. It's really crazy, isn't it? We get to live, then we have to die. What we put into every moment is all we have… What spirit human beings have! It is a pretty cheesy deal—all the pleasures of life, and then death."

"While we have the gift of life, it seems to me the only tragedy is to allow part of us to die—whether it is our spirit, our creativity or our glorious uniqueness."

"A company producing a television commercial was looking for child dancers. … It was a commercial set in the fifties, and a young family broke into dance. I was the son; I had a sister, a father, and a mother, who was played by Gilda Radner. Gilda had not yet been hired for Saturday Night Live (in fact, Saturday Night Live didn’t exist yet). It was a four-day shoot, and I, like every other human being who met her, fell in love with Gilda. And on the last day of the shoot, we said our goodbyes in the parking lot. I cried like a baby. My whole family came to pick me up, and upon seeing me crying, my brothers gave me a new nickname to replace Twinkletoes. I was hereby called Sucky Baby, because of the emotion I had displayed upon my cruel separation from Ms. Gilda Radner, who became known in my house as “your girlfriend.” I was Sucky Baby for ten years."

"Mel [Gibson] will always be Mad Max, and me, I will always be a number."

"The village is a place that is trying to destroy the individual by every means possible; trying to break his spirit, so that he accepts that he is Number Six and will live there happily as Number Six for ever after. [...] And this is the one rebel that they can't break."

"When they did finally see it, there was a near-riot and I was going to be lynched. And I had to go into hiding in the mountains for two weeks, until things calmed down. That's really true!"

"I grew up in the Valley, and I didn't know any of our neighbors. I think when you grow up like that, there's always sort of a fantasy of a place where everybody knew each other, and you had that safe sort of feeling."

"These television shows that have 14 shots of somebody looking at each other with the wind blowing through their hair drive me insane."

"[Chevy falls down, and gets up]LIVE FROM NEW YORK, IT'S SATURDAY NIGHT!"

"It was my understanding that there would be no math."

"I'm Chevy Chase - and you're not."

"I want to look him straight in the eye, and I want to tell him what a cheap, lying, no-good, rotten, four-flushing, low-life, snake-licking, dirt-eating, inbred, overstuffed, ignorant, blood-sucking, dog-kissing, brainless, d!ckless, hopeless, heartless, fat- @ss, bug-eyed, stiff-legged, spotty-lipped, worm-headed sack of monkey sh!t he is!"

"We're kicking off our own fun old fashion family Christmas by heading out into the country in the old front-wheel drive sleigh to embrace the frosty majesty of the Winter landscape and select that most important of Christmas symbols."

"Medium talent."

"I remember watching Gene Hackman, or Robert Duvall. To just see them as actors. You think of them as these icons. But you see them mess up their lines, flub their lines, whatever, you just see the human being. But then when they're "in" it's totally about playing pretend. The game of it."

"I feel passionate about things. And I feel things deeply, and that's always the way I've been taught, right from the beginning, that the deeper you feel something the better the acting.....and then it's also the person you're playing. If you're playing someone who's upset or yelling, that's what you gotta do. That's the job."

"My style is too developed to be arrested It's the freestyle, so now it's out on parole They tried to hold my soul in a holding cell so I would sell but I bonded with a break and had enough to make bail"

"But once the man got you well he altered the native Told her if she got an image and a gimmick That she could make money, and she did it like a dummy Now I see her in commercials, she's universal She used to only swing it with the inner-city circle Now she be in the burbs lickin' rock and dressin' hip And on some dumb shit"

"I fight, with myself in the ring of doubt and fear The rain ain't gone, but I can still see clear As a child, given religion with no answer to why Just told believe in Jesus cause for me he did die Curiosity killed the catechism Understanding and wisdom became the rhythm that I played to And became a slave to master self A rich man is one with knowledge, happiness and his health My mind had dealt with the books of Zen, Tao the lessons of the Koran and Bible, to me they all vital And got truth within 'em, gotta read them boys You just can't skim 'em, different branches of belief But one root that stem 'em, but people of the venom try to trim 'em And use religion as an emblem When it should be a natural way of life Who am I or they to say to whom you pray ain't right? That's who got you doin' right and got you this far Whether you say "in Jesus name" or "Al hum du'Allah" Long as you know it's a being that's supreme to you You let that show towards others in the things you do Cause when the trumpets blowin', 24 elders surround the throne Only 144,000 gon get home"

"Granted we known each other for some time but it don't take a whole day to recognize sunshine"

"The revolution will not be televised The revolution is here"

"The perseverence of a rebel, I drop heavier levels of unseen or heard, a king with words Can't knock the hustle, but I've seen street dreams deferred Dark spots in my mind where the scene occurred Some say I'm too deep, but I'm in too deep to sleep"

"I'm the truth, across the table from corporate lies Immortilized by the realness I bring to it If revolution had a movie I'd be theme music My music, you can either fight, fuck, or dream to it"

"This industry will make you lose intensity"

"Cause federal and state was built for a black fate Her emptiness was filled with beatings and court dates They fabricated cases, hoping one would stick And said she robbed places that didn't exist In the midst of threats on her life and being caged with Aryan whites Through dark halls of hate she carried the light"

"The chosen one from the land of the frozen sun, where drunk nights get remembered more than sober ones"

"Never looking back, or too far in front of me. The present is a gift, and I just wanna be."

"We got arms but wont reach for the skies"

"Be the author of your own horoscope"

"We write songs about wrong cause its hard to see right"

"I look into my daughter's eyes. And realize that I'ma learn through her. The Messiah, might even return through her. If I'ma do it, I gotta change the world through her"

"Yo...on the amen, corner I stood lookin' at my former hood Felt the spirit in the wind, knew my friend was gone for good Threw dirt on the casket, the hurt, I couldn't mask it Mixin down emotions, struggle I hadn't mastered I choreographed seven steps to heaven and hell, waiting to exhale and make the bread leavened Veteran of a cold war its Chica-i-go for What I know or, whats known"

"Tried to call, or at least beep the lord, but didn't have a touch-tone"

"Let the truth be told from young souls that become old From days spent in the jungle, where must one go To find it, time is real, we can't rewind it Out of everybody I met, who told the truth? Time did"

"Took a picture of the truth and tried to develop it Had proof, but it was only recognized by the intelligent Took the negative and positive, cause niggas got to live Said I got to get more than I'm given Cause truth'll never be heard in religion After searching the world, on the inside what was hidden?It was the truth"

"This is street rad-i-o, For unsung hero, Driving in the regal, trying to stay legal, My daughter found Nemo, I found the new primo, Yeah, you know how we do, we do it for the people.""

"I think and speak clearer since I cut the dairy out. I can breathe better and perform at a better rate, and my voice is clearer. I can explore different things with my voice that I couldn’t do because of my meat and dairy ingestion. I am proud and blessed to be a vegetarian, everything became clear."

"I went to the movies — it was Kanye, myself and John Mayer, and we went to see "Ray." We were watching it, and I was just inspired by the movie, just as a musician and as an artist, I felt inspired. We left there and went straight to the studio. Kanye started cooking up this beat and started doing this chant, like, "Go, go, go," and while we were sitting there thinking what to write, John Mayer said, "You could write about your fantasy." And I was like, "Am I going to let John Mayer come up with the concept for this joint? This is hip-hop." But John Mayer is a very talented brother and you don't know where your blessings are going to come from. He was singing, and we made him a sample on it, going 'Go.' So it all came together and now we have the song 'Go!,' which is about going to my fantasy."

"Recently, John and I got to go to Selma and perform “Glory” on the same bridge that Dr. King and the people of the civil rights movement marched on 50 years ago. This bridge was once a landmark of a divided nation, but now is a symbol for change. The spirit of this bridge transcends race, gender, religion, sexual orientation, and social status. The spirit of this bridge connects the kid from the South Side of Chicago, dreaming of a better life, to those in France standing up for their freedom of expression, to the people in Hong Kong protesting for democracy. This bridge was built on hope, welded with compassion, and elevated by love for all human beings."

"Hello, my name is Zach Galifianakis, and I hope I'm pronouncing that right."

"I was named after my grandad. Yes, my name is Zach Grandad Galifianakis."

"If you love Barry Manilow, you're gonna love the Insane Clown Posse. Love 'em. They're exactly... well, they're not EXACTLY alike, but they're a little bit alike..."

"Seriously!, this is a DVD! I need dinosaurs, thunder, race wars, something! Dammit, I gotta sell this motherfucker.... 36.63."

"I want to combine the NAACP with Mothers Against Drunk Driving. It's called Mothers Against the Advancement of Colored People."

"I failed kindergarten because I couldn't spell my last name."

"Growing up my dad was like "Zach, you have a great last name: Galifianakis... Galifianakis... Begins with a 'gal', ends with a 'kiss'"... I'm like "That's great, Dad. Can we get it changed to 'Galifiana-fuck' please?""

"When I was a kid, I had dyslexia. And I would write about it in my dairy."

"When you look like I do, it's hard to get a table for one at Chuck E Cheese."

"Whenever I'm with a woman I whisper softly into her ear, "Will you touch my vagina...?" and she's like, "What!?" and I'm like, "That's what you're supposed to say.""

"Did you ever wake up with an erection...and then you realize you're just in a massage chair at Brookstone? And you yell to the sales clerk "I'll take it!""

"At what age do you think it's appropriate to tell a highway it's adopted?"

"I think those neighborhood signs that say 'slow children playing' are so very mean."

"My girlfriend looks a little like Charlize Theron...and a lot like Patrick Ewing."

"I dream of moving to India, or Pakistan, and becoming a cabdriver."

"I'm going to do all new, fresh material...you guys been keeping up with this O.J. thing?"

"I call my balls the bush twins."

"I dream of starting a three-man country trio called the Chixie Dicks."

"This is my impression of a Southern woman. "Tsk, I am so mad at the Taliban right now!""

"That was some really great "fatcting"."

"The only good time to say I have diarrhea is during a game of Scrabble, because it's worth a shitload of points."

"The Forgetful Vegan: Man that sure was some good pepperoni pi-Oh Fuck!"

"For 8 years now I've been addicted to cold turkey. When I tell people I'm quitting cold turkey, they say,"What are you quitting?", I'm fucking quitting cold turkey."

"You shaved your head for V For Vendetta. Did you also shave your V for Vagina? (to Natalie Portman)."

"The only time it's ok to yell out 'I have diarrhea' is when you're playing Scrabble...because it's worth a shitload of points."

"I wear a lot of Axe body spray, but I live in a black neighborhood. Over there, they call it Ask body spray. If you don't get that joke, then you're not racist."

"I once played charades with a couple that was deaf.....they were amazing. I mean, none of this sounds like business."

"I like to stump Google. The other day I Google'd "how many Mexicans live in North Korea"....Google didn't know. I also Google'd "how many candles does Dave Navarro own?"...14,000."

"Sometimes I order a beet salad, so when the waiter comes and lays down my salad I can say "thanks for laying down those funky beets". It's an expensive joke because I don't even like beets."

"Here's something you'll never see in Braille: "If you see something, say something"."

"Why westerns get segregated into a genre in Hollywood, I don't know... It's just good entertainment."

"Blow me a raspberry."

"I was planning to go into architecture. But when I arrived [to sign up for courses], architecture was filled up. Acting was right next to it. So I signed up for acting instead."

"All I see is people out there who are hungry for more."

"You know, I understand how you feel. This is a really contentious issue. Probably as contentious, and potentially as troubling as the abortion issue in this country. All I can tell you is, rushes to pass legislation at a time of national crisis or mourning, I don't really think are proper. And more importantly, nothing in any of this legislation would have done anything to prevent that awful tragedy in Littleton.What I see in the work I've done with kids is, is troubling direction in our culture. And where I see consensus, which is I think we ought to concentrate on in our culture is... look... nobody argues anymore whether they're Conservatives or Liberal whether our society is going in the wrong direction. They may argue trying to quantify how far it's gone wrong or why it's gone that far wrong, whether it's guns, or television, or the Internet, or whatever. But there's consensus saying that something's happened. Guns were much more accessible 40 years ago. A kid could walk into a pawn shop or a hardware store and buy a high-capacity magazine weapon that could kill a lot of people and they didn't do it.The question we should be asking is... look... suicide is a tragedy. And it's a horrible thing. But 30 or 40 years ago, particularly men, and even young men, when they were suicidal, they went, and unfortunately, blew their brains out. In today's world, someone who is suicidal sits home, nurses their grievance, develops a rage, and is just a suicidal but they take 20 people with them. There's something changed in our culture."

"Ladies and gentlemen, thank you. This is kind of an emotional thing for me because I've known about this show for a long time, and the newspapers and the magazines that I've probably been interviewed 150 times in the last nine months since I've known about this. As I say, you'll work up to it; we come over here this afternoon, we meet the guests that are on the show, and you get kind of charged up. I don't mean to be maudlin about it, but I know that tonight a lot of people, a lot of my friends are watching all over the country, and I only have one feeling as I stand here knowing that so many people are watching: I want my nana!"

"Who could follow Carson? Well, believe me, somebody can — and will."

"It was so hot today I saw a robin dipping his worm in Nestea. It was so hot today I saw a pigeon walking in the shadow of Orson Welles. It was so hot today that Burger King was singing, "if you want it your way, cook it yourself.""

"And so it has come to this: I, uh... am one of the lucky people in the world; I found something I always wanted to do, and I have enjoyed every single minute of it. I want to thank the gentlemen who've shared this stage with me for thirty years, Mr. Ed McMahon... Mr. Doc Severinsen... and... you people watching, I can only tell you that it has been an honor and a privilege to come into your homes all these years and entertain you—and I hope when I find something that I want to do, and I think you would like, and come back, that you'll be as gracious in inviting me into your home as you have been. I bid you a very heartfelt good night."

"I did not know that."

"A stylized version of our IKEA present. It is talking about very simple concepts. We're designed to be hunters and we're in a society of shopping. There's nothing to kill anymore, there's nothing to fight, nothing to overcome, nothing to explore. In that societal emasculation this everyman is created."

"We wanted a title sequence that started in the fear center of the brain. [When you hear] the sound of a gun being cocked that's in your mouth, the part of you brain that gets everything going, that realizes that you are fucked - we see all the thought processes, we see the synapses firing, we see the chemical electrical impulses that are the call to arms. And we wanted to sort of follow that out. Because the movie is about thought, it's about how this guy thinks. And it's from his point of view, solely. So I liked the idea of starting a movie from thought, from the beginning of the first fear impulse that went, Oh shit, I'm fucked, how did I get here?"

"You want to be able to provide something, and you're pissing down a fucking well. It will suck you dry and take everything you have and, like being a parent, you can pour as much love as you want, and your kid still says, "Just let me right out here, you don't have to take me all the way." You're working to make yourself obsolete. I'm not going to make Persona - my movies are fairly obvious in what the people want and what it is that's happening; it;s not that internalized. What's internalized is how you process the information from the singular, subjective point of view. And that becomes the subtext of it."

"Film-making encompasses everything, from tricking people into investing in it, to putting on the show, to trying to distill down to moments in time, and ape reality but send this other message. It's got everything. When I was a kid I loved to draw, and I loved my electric football sets, and I painted little things and made sculptures and did matte painting and comic books and illustrated stuff, and took pictures, had a darkroom, loved to tape-record stuff. It's all of that. It's not having to grow up. It's four-dimensional chess, it's strategy, and it's being painfully honest, and unbelievably deceitful, and everything in between."

"The movie is not that violent. There are ideas in the movie that are scary, but the film isn't about violence, the glorification of violence or the embracing of violence. In the movie, violence is a metaphor for feeling. It's a film about the problems or requirements involved with being masculine in today's society."

"Violence shouldn't be presented as drama. I think people looking for an easy way out often write scenes where characters come into violent conflict as opposed to looking for the true drama in the situation. That's a shortcoming of a lot of films and television shows. I think certain presentations of violence are not immoral, but amoral."

"I find it amoral if you're making a movie where the problem is solved with a guy standing in the back of pickup truck firing a machine at the bad guys. The morality of it is questionable because the repercussions of violence are incredibly far-reaching."

"I do like movies that take a toll on the audience. I want to work the subconscious. I want to involve you in ways in which you might not necessarily want to get involved. I want to play off those things that you're expecting to get when the lights go down and the 20th Century Fox logo comes up. There's an audience expectation and I'm interested in how movies play with--and off--that expectation. That's what I'm interested in."

"I always feel ill-prepared for commentaries and it had been so long I was afraid I'd forget everything that happened on the film. But having everybody come together for it was really great. It was like a high school reunion. We all reminisced and just had a great time."

"Oh, yeah, I love DVD's. I don't have what you'd call an extensive collection, maybe a couple of hundred or so. But I have something on almost all the time."

"There are some movies I can watch over and over, never get sick of. I'll put one of those on and be puttering around the house. Then a certain scene will come on and I'll just have to go over and watch."

"You know, I don't think I've ever listened to someone's commentary. Ever."

"I tend to over-intellectualize things, to come at them from a structural point."

"I don't have the Tom Hanks fans. When you make the kind of movies I make, you get weird letters from people."

"You can do something that walks a line, and invariably, whatever that line is, it will be crossed by people who don't know any better and want to ape the success."

"I want to make a movie that has enough impact that it's going to do what it needs to do. But I don't want to make a film that serial killers masturbate to."

"For me, the scariest thing about a serial killer is that there's somebody who lives next door to you, running power tools late into the night, and you don't know he has a refrigerator full of penises."

"As much as people pretend 'I fit in, I understand, I get the rules,' there are always times spent away from that where you go, 'I thought I knew. It seemed so clear to me, and then...' That sense of loneliness, or the sense of not fitting in or being out of depth, is probably the most common denominator."

"Entertainment has to come hand in hand with a little bit of medicine. Some people go to the movies to be reminded that everything's okay. I don't make those kinds of movies. That, to me, is a lie. Everything's not okay."

"You have a responsibility for the way you make the audience feel, and I want them to feel uncomfortable."

"Hollywood is great. I also think it's stupid and small-minded and shortsighted. I'm sure there are people who get into movies so they can get nice tables at restaurants."

"You can either look at your career as the things you're going to leave behind, and they have to be executed flawlessly and you have to know exactly what it is that you're doing. Or you can be realistic about the fact that you're going to learn as you practice what you do."

"I thought it was so strange because I normally make these pitch-black studies of misanthropes or the occasional movie about serial killers, sowhat could the possibly see in this material for me."

"Thank you to the stellar collection of photographers, designers, editors, musicians, costumers, painters, researchers, electricians and craftspeople who without whom I'd just be a bitter man with a lot of opinions"

"He's just scary smart, sort of smarter than everyone else in the room. There's just a handful of these people who know absolutely everything about the process. They could do everyone's job brilliantly. Every aspect is under their control."

"We don't wanna leave you, but...but we got to...wish this point right here, wish it could last forever right now! Yeah...it's kinda like one big orgasm!"

"You'll never get me into a tux. Not until I'm dead and I have no choice because that's what the undertaker put me in."

"It'll say, 'Danny Elfman, who wrote the theme to 'The Simpsons,' etcetera...That's what I'll be remembered for."

"For a while, I was friends with Danny Elfman. He is certainly talented and has done some great music for film. But after talking with him several times when I was having trouble dealing with a movie producer or the agents that we shared, I realized his true genius was dealing with these people."

"All I ever wanted to do was act. And pay my bills"

"I grew up as a tomboy. I was always barefoot, running races with the guys on the block, climbing trees, and beating kids up."

"I’m very, very private; I don’t enjoy talking about myself to strangers...Particularly strangers with tapes going."

"I feel that you reach a certain age and then things start to jell. My sense of self is stronger. I'm getting bolder in my old age. After I hit forty, you couldn't mess around with me so much anymore."

"I was brought up not to be selfish or self-centered. So if you play somebody who isn't so lovable, you can play that person and no one will turn on you."

"[W]hat I do is not mimicry or an impersonation, but more of an assimilation"

"As an actor you can't approach the character with that kind of awareness or it plays as 'I hate myself.' Dottie thought she had a right to her life and that was tricky to play."

"[W]hen I was a kid and I would get upset when people laughed at me when I didn't mean to be funny. I would always hear: 'We're not laughing at you. We're laughing with you.' But I would say, 'I'm not laughing.'"

"Don't ask me about Beverly Hills High School. Everybody hated it. I hated it. Hated it. Hated it. Hated it."

"I was a French Quarter rat from the moment I could get on a bus by myself and go to the French Quarter. I played music most of my early life and it just seemed that to entertain people was a really good thing to do."

"And as the mouthpieceOf every single citizen without peaceDirection and leadershipI'ma spit it 'til your ears can't believe this shitWe got weapons of mass destruction, and we is it"

"I wish the government would quit tappin' phones in the ghetto(Leave us alone) I wish my student loans were all settledI wish they'd quit riggin' elections, the shit is depressin'Bet your bottom dollar Bush wins again, no questionI wish AIDS didn't existI wish I didn't have flashbacks of my cousin slittin' his wristsI wish there weren't so many single mothers and deadbeat dadsYeah"

"You mad at the last album, I apologize for itYo, I can't call it, man muh'fuckin' Wyclef spoiled it"

"Two roads diverged in a wood, I took the one less travelledI'm patient so that's one less hassleIf I dream it, I can live itI've seen the light with vivid imageryI need to write with fits of energyBut it's hard tryin' to get where I'm goin'Without a hint or an omenIt's too late to turn aroundPerseverance, gotta learn it nowBut I'm stubborn howAm I supposed to survive this rollercoaster hurtlin' to the ground?"

"I guess it's true what they say, the third time's a charmI grabbed the game and let it die in my armsThen resurrected itChanged clothes, same flow, perfected itThey know Swain though they still won't respect the kidBut I ain't slowin' upThis time, blowin' upSponsors, concerts, everybody showin' upKnow enough tricks of the trade to get a record deal:Fresh kicks, press kits, sex appealHad to mail my demo out 'cause I ain't had enough bus passTo take the bus first classSo frustrated, had to puff-puff-passSent my CD out to Puff, Puff passedMust've had enough trash on his desk this yearSent one to So So Def, but it fell on so so deaf earsI never once shed tears, this must be a test here"

"D. Swain ain't never dwell on shitSo why would he start now?The perfect time for him to depart, vowedTo make a name for myselfGet some fame, maybe gain some wealth (what else?)I gave you the pain of a black man going through thangsJust being myself and showing you SwainNow a nigga feelin' disenchanted, jaded'Cause instead of gettin' props, Danny got hatedYeah I made it to the top, but I'm tossin' myself offD. Swain kill his image? Chalk it up as a lossGoodbye"

"So one time for my disillusioned artists, I hear yaTwo times for the kid that air-guitars in the mirrorThree times for the 9-to-5-in' bus ridin' dudesAnd four times for my dreamers, yo I'm just like youThat's why I sing for my queens with their own pair of wingsMy brothers flyin' beside me, drama behind meMama tried to find me, she inquired emphaticallyI was in the sky with all these other ghetto kids, defying gravity, uh"

"Tribe purist to the fullestIf'n you ain't feelin' this track, then you're full of itPull that li'l shit if you wanna, ya digBut you ain't gonna do me like you did those Kidz, and clown meHomage, comma, propsCall it what you want, but I'm not gonna stopRecord hit the store and I'm not gonna flopAnd if I do, well then it's fodder for the message boards tomorrow"

"I, once was retired but he's sort of backHaven't been the same since Uncle L sneezed on a track(Heee-shay!) I'm 'bout to throw some D's on the 'LacSike...my guest appearances is cheese for the ratsPease porridge hot? Nah nigga, pease porridge blackPlease pour a batch of Singaporan tea, more than thatY'all gon' need some bigger cups if you fuckin' with me and NaledgeEven college was a hustle to him, like me at ClaflinWe is laughin' at the competition deviouslySo much accomplished, Wikipedia's peeved"

"But she just stood there, scared that I might snapI looked in her eyes and there were years of disappointment starin' right backAnd I was scared too, scared of what she would sayBut I was embarassed like I, like I sat through three Madea playsBefore she walked away, Misery stoppedAnd she said 'look at your music career, you're in the same spotNah,' I said, 'don't even try meBecause you used to stand beside meBut I moved so far ahead you're ninety feet behind me'"

"[Relationships] never seem to work out, I mean it gets to the point where I have to be extremely cautious. You have to understand, this stardom thing is still new to me, I don't even consider myself "famous". It's 2008: if you have a blog, a mixtape and two pairs of skinny jeans you, too, can be 'famous'."

"I wasn’t reluctant about it. I’ve had so many fans online and at shows ask for my old material that I was surprised. So when I had the chance to release my back catalog on iTunes it was really for the fans. I’m still surprised when a fan comes up to me and ask about F.O.O.D. I want to please those fans that have enjoyed my previous albums and I also want to be able to see the progression of my music for posterity sake."

"I rarely get mentioned in the same category as these other guys who have come out after me...[b]ut maybe I’m not that, maybe I’m not an Internet rapper."

"I can't really hear the audience applause when I'm on stage. I'm totally immersed in the piece. But sometimes I get a lot of it and wonder, "Now, why did they applaud here?" If it's a white crowd, they usually applaud because they think it's a pretty movement. If it's a black crowd, it's usually because they identify with the message."

"People come to see beauty, and I dance to give it to them."

"I've always felt that complement of opposites: body and soul, solitude and companionship, and in the dance studio, contraction and release, rise and fall."

"I have been guilty of watching Westerns without acknowledging that Native Americans have gone through the same madness as African Americans. Isn't it extraordinary that sometimes the most offended have not seen others being offended?"

"Dance is bigger than the physical body. When you extend your arm, it doesn't stop at the end of your fingers, because you're dancing bigger than that; you're dancing spirit."

"I don’t know if people are meant to be together. You have to have a lot in common, choose well and be really fortunate. It’s not like you’re sprinkled with fairy dust. You have to believe that love will be there when you need it."

"It just seems like the most successful, iconic love stories are not so easy or escapist. I think the ones that stay with us and resonate are full of conflict, discord and misunderstandings 'cause that's what makes drama happen or tension even if it's a comedy. I think people who make movies and have invested a lot of money in them, get frightened that if they challenge an audience they are going to repel them. And I think the opposite, it's really true. It takes confidence and courage to know that and then commit to it."

"Anybody who knows how to make a good movie, knows that it's a collaborative undertaking. To deny that its really dangerous."

"This business can be very erratic and intense … You can be the subject of great attention, both positive and negative. You really do have to tether yourself when you're a teen star. If you don't have that tether, then you're really lost."

"It's not called stalking...it's called "passionately following"."

"I'm not a politician, I'm a musician. I care about giving people a place where they can go to enjoy themselves and to begin to live again. To the man you have to give the spirit, and when you give him the spirit, you have done everything."

"I remember when I began singing, in 1961, one person said, "run quick, because opera is going to have at maximum 10 years of life." At the time it was really going down. But then, I was lucky enough to make the first Live From the Met telecast. And the day after, people stopped me on the street. So I realized the importance of bringing opera to the masses. I think there were people who didn't know what opera was before. And they say "Bohème", and of course "Bohème is so good.""

"I think an important quality that I have is that if you turn on the radio and hear somebody sing, you know it's me. You don't confuse my voice with another voice."

"Penso che una vita per la musica sia una vita spesa bene ed è a questo che mi sono dedicato."

"If children are not introduced to music at an early age, I believe something fundamental is actually being taken from them."

"I am a very simple person. In spite of all that has happened to me, I have tried to remain the simple person I started out."

"Every day I remind myself of all that I have been given. … With singing, you never know when you are going to lose the voice, and that makes you appreciate the time that you have when you are still singing well. I am always thanking God for another season, another month, another performance."

"As an art form, opera is a rare and remarkable creation. For me, it expresses aspects of the human drama that cannot be expressed in any other way, or certainly not as beautifully."

"In opera, as with any performing art, to be in great demand and to command high fees you must be good of course, but you must also be famous. The two are different things."

"It is not always a matter of wild ovations and legendary performances. Sometimes you are just happy to get through an opera without trouble."

"For all three of us, the Caracalla concert was a major event in our lives. I hope I am not immodest to think it was also unforgettable for most of the people who were present."

"Nothing that has happened has made me feel gloomy or remain depressed. I love my life."

"Some can sing opera, Luciano Pavarotti was an opera. No one could inhabit those acrobatic melodies and words like him. He lived the songs, his opera was a great mash of joy and sadness; surreal and earthy at the same time; a great volcano of a man who sang fire but spilled over with a love of life in all its complexity, a great and generous friend. … I spoke to him last week... the voice that was louder than any rock band was a whisper. Still he communicated his love. Full of love. That's what people don't understand about Luciano Pavarotti. Even when the voice was dimmed in power, his interpretive skills left him a giant among a few tall men."

"He was always helpful to me, supporting me in my very difficult moments as well, due also to a severe illness. He was very close to me, he was calling me quite often and giving me a lot of support and putting me in the right spirit."

"I always admired the God-given glory of his voice — that unmistakable special timbre from the bottom up to the very top of the tenor range. … I also loved his wonderful sense of humor."

"I had the pleasure of not only performing for him in tribute, but performing in his stead at the Grammy Awards in 1998, singing 'Nessun Dorma.' I had one magnificent and absolute and defining moment when he came to the stage to thank me for my performance. The world has lost one of the greatest voices of all time."

"Pavarotti made a profound contribution not only to music and the arts, but also to people in need around the world. His work for children — particularly those affected by armed conflict — stretched from Afghanistan to Liberia and beyond. By staging concerts and marshaling talented friends to help raise funds, he generated millions of dollars for humanitarian aid."

"The whole world will be listening today to his voice on every radio and television station, and that will continue. And that is his legacy. He will never stop,"

"We got our soldiers fighting gangsta niggas. Them terrorists is gangsta. How the fuck you gonna scare somebody that wanna die? Like: "I'll kill your mothafuckin ass." "Thank you very much." What the fuck? Ask any nigga who ever fought a crackhead. I don't give a fuck how good you think you can fight. You cannot beat a crackhead, nigga, you...[hits self with microphone, imitating a crackhead falling, gets right back up immediately] Crackheads wobble, but they don't fall down. Them mothafuckas'll fight you all night for $11."

"Those mothafuckas is gangstas. They don't be bluffin' neither. We be thinkin' they bluffin', they won't be bluffin'. They'll be right there on National TV just... [in a stereotypical Iraqi accent] "If you are not do, what we are for say to do, tomorrow at Twelve o'clock, we're going to cut off his head." We be at the house like, [takes puff of blunt] "That's some bullshit, ain't nobody gonna cut off a mothafuckin head on National TV." Very next day at 11:59 they just" [covers the lower half of his face with his jacket, looks at the watch and knocks the mic-stand over as if beheading someone]. We be like "Shit! Play it again, play it again! SHIT!" Them mothafuckas, we can't be bullshiting with them. We gotta get our soldiers away from them mothafuckas."

"You don't believe our government gangsta? Tell me what the Iraqi uniform look like. [short pause] Don't worry, I'll wait. We ain't killin' they army nigga, we killin' them. We over there killin' niggas in tank tops, sweatpants, flip-flops and a cowboy hat. You shouldn't have been talkin' shit."

"Never in the history of niggadom..."

"[Referring to marijuana dealers] Just soon they see you, just, "Nigga, nigga, nigga...nigga. You remember that shit I gave you last week, nigga? It's nothing, nigga. It's nothing. It's nothing, nigga. Nigga, it's nothing. This shit right here, nigga! This shit right here, nigga! Right here, this shit, nigga! This shit here, nigga!" Always has some fucked up name. "It's kryptachronicunnalite, nigga!" Always has some fucked up ass name. "Nigga, this shit here, nigga. This shit here, nigga. This shit's called Deaf, nigga." You be like, "Nigga, that don't even sound attractive. What the...You mean I'm gonna hit it and die, nigga? Is that what..." "No nigga, not Death, nigga, Deaf. You hit this shit twice, nigga, you can't hear shit!""

"I'm used to smoking some weed and getting the munchies. This nigga sold me some shit, had me looking at the refrigerator for three hours. I'm just in the kitchen, sitting on the stove, just... [Sits on stool, blanking staring]... I bet you there ain't shit in there, nigga. I bet you...""

"You done got with us niggas--now you talking about, "You fucked up my self-esteem." Bitch, it's called SELF esteem! It's esteem of your mother-fuckin' SELF, Bitch!"

"Long as you been living, you ain't NEVER heard of a mother-fucker overdosin' on marijuana. You might-a thought that nigga was dead. He ain't dead. He gonna wake up in 30 minutes hungry enough to eat up everything in your house. That's the side effects: hungry, happy, sleepy." That's it."

"My favorite show for two years in a motherfucking row is still motherfucking "Swamp People". That is my shit! Oh, my God! If you have not seen this shit, you have not lived yet! It's some beautiful shit! I think I just like seeing minor... rednecks in their natural environment, not killing minorities. I think that's what it is. I love this shit. I watch every episode, but I don't know why, because every episode is exactly... [audience yells; "the same!"] ...like the last goddamn episode. They don't change shit. Every episode start with a man in a boat going nowhere fast as shit. He just... And he's saying some shit you can't fucking understand. And then you accidentally understand some of the shit, and it scares the shit out of you. He just... "We got to go out there and get him, boy. We got to go out there and get him, boy. We don't go out there and get him, he ain't going to get hisself." "Nah, I guess he ain't going to get hisself. I guess that makes perfectly good sense." And these white men get out there in that swamp, and they are catching 700-, 800-pound alligators. And that's not the part, minorities. They are catching these alligators with their hands! That's right. Look at the niggas. Don't even believe me. With their real hands. Not a weapon. Not a stick. None of that. Stick their real hands in the water to get the alligator. Black people is at the house, like, "Don't stick your hand in there! There's an alligator in that son of a bitch." But when you see... you see that white man reach up out that motherfucking boat, grab that motherfucking alligator line, the whole show, just... [repeatedly] "shoot him, Billy Bob, shoot him! Shoot..." Then the whole show just flips. Now they showing it from underwater, and it's muddy and bubbling and shit, like the alligator has a camera on his head. And he's in the show too. And then they cut to commercial."

"Every time, I say, "I will not be here when you get back." Just saying, we all need to be able to laugh. So for my white friends, here's something black you can laugh at. I've done the research. I'm pretty sure there's no coonery in there anywhere. I just know every time I see the shit, I fall on the ground laughing, almost pee myself. Okay, may be the funniest shit I ever seen. There is a commercial starring a nigga named Mutombo. Now... if you have not seen this commercial, you have not lived yet. Yet me say that. Now, if you don't know who Mutombo is, he used to play basketball, played for the NBA, maybe, like, in 1979 or some shit like that, but he was one of the greatest, known for blocking shots. That was his shit. Now they got this nigga just randomly running through white people's workplace, just randomly knocking shit out the air for no reason at all. Just, "No, no, no." What the fuck is that shit? "No, no, no." Every time I see that shit, I almost pee myself."

"Many times I been arrested, that might be the only thing I haven't tried. Stay tuned to TMZ. If I get pulled over one more motherfucking time, that's how the fuck I'm getting out of my car, just, "No, no, no. We already did this shit." Just saying, all got to be able to laugh."

"Motherfuckers thought that because I was raised homophobic, that might have meant I was homophobic. Wait a minute, motherfucker. Don't speak for me. I could tell you how the fuck I feel. Just 'cause I got an opinion don't mean shit. At the end of the motherfucking day, I thought we was talking about rights, and I thought they was human rights. I think they human rights, so if you a human, you deserve your motherfucking rights. The reason for that is I don't give a fuck what you are doing in your life, 'cause I'm too busy doing what the fuck I'm doing in my life. End quote. Yes, yes. Now, now, people thought that because I might have an opinion, that meant I was homophobic. No, no, no, no. Let me say... let me say publicly... let me say very publicly if there was a dude and I had some shit to say, that's not because I was homophobic, motherfucker! I'm not homophobic! I'm pro-pussy! There is a difference. I think you need to understand, I... I was trying to help. I wasn't coming from a place of hate. I thought some of them had made a mistake. I'm saying, if you try a vagina and it leads you to a life of asshole, wait a minute. If at first you don't succeed, sir, try, try again. What the... you must have got the wrong vagina. They are delicious. You should try another one. All of them are delicious, I think. But I realized... I realized it was a contradiction... because if you ask me about gay dudes, I have some shit to say, but if you ask me about lesbians, I don't have shit to say about lesbians. I've already had this conversation with Jesus. He know I love lesbians. I don't even think lesbians should pay taxes. I really don't. I think they are already taking care of two vaginas. Just saying. We can't afford to be judging all the time. Our life is too motherfucking hard as it is. You got to be able to just laugh some shit the fuck off. I just don't like when they try to force shit down our throats."

"The police is on some different shit. I know you noticed it here. I want you to know it's like that everywhere. The police is on some different shit. Now, I know it's some cops in here. We do not mean y'all. Y'all are doing a great job. We appreciate it. Just doing your job, keeping us safe out there, and thank you so much. It's the ones outside we talking about. They on some different shit. The police used to be serve and protect. Used to be you are presumed innocent until you are proven guilty. Police is on some different shit. They done figured out they can kill your ass today and come up with a story for the news tomorrow. They done figured that shit out, and they done got so good, they can show us the truth, and we can see the truth with our own eyes, and then they can lie to us at the same time and confuse us about the truth we just saw with our own eyes. Okay, the first time we all saw it was at the Boston Marathon bombing. Everybody was looking for the fake-ass, bullshit-ass terrorists. He had a four-day head start. He could have been anywhere. But we knew he was in the boat 'cause they told us he was in the boat from a helicopter. "That's him in the boat right there. That's him in the boat." Drew a picture around him. "That's him laying down at the bottom of the boat. That's..." Then they said, "The police are here. We going to back up, let the police go in and begin negotiations." And all we heard was... then they cut to commercial. By the time they came back, that motherfucker had 20 holes in his chest, a tunnel in his throat. The next day, they say, "He was in a gunfight... but he didn't have a gun." Ask a nigga, that is not a gunfight. That's a drive-by right there. That's... that's an execution you got caught in. Second time we saw it... second time we saw it was in LA when they was looking for the ex-black cop, Christopher Dorner. That was some scary shit. They wanted that nigga bad. Let me just tell you I was in LA at the time, and let me just say you do not want to be a nigga when they are looking for niggas. That was some scary shit. I didn't realize how much of my time I spent being black till I had to try to drive white for two days. I'm all up on the steering wheel. Them motherfuckers wanted that nigga bad! They shot up two Hispanic women in a pickup truck delivering newspapers at 4:30 in the morning looking for a nigga. Wait a minute. That is too early and too late for niggas. We not fixing to be nowhere at 4:30 in the morning, not even if we supposed to be. But we knew he was in the cabin 'cause they told us he was in the cabin. "He's in the cabin. The police have him completely surrounded. There's nowhere for him to go. We're going to back up, let the police go in and begin negotiations." And all we saw was, "Get that motherfucker!" Then they said, "It looks like he committed suicide." They just barbecued this nigga on national TV. I know the police is on some different shit. You don't have to tell me. I found out the hard way."

"They did some shit to me I didn't even know they was allowed to do. I knew they could take a nigga to jail. I thought that was it. These motherfuckers put me in a real mental institution with real crazy people. What the fuck?! I might have thought I was crazy till you put me in here with the real crazy motherfuckers. Now I know I'm sane as shit. You ain't lived till you try to break up a fight with a motherfucker and hisself. "Fuck you, nigga. Fuck you." "One of y'all is right. That's all I'm trying to say. I ain't trying to be in your business or nothing." It's fucked up. Here the fuck I tell jokes for a living. These motherfuckers got me handcuffed to a nigga who's scraping demons out his face. He... I'm over there like, "Jesus, this is your humble servant, Lord. There's clearly been a miscommunication, Jesus. Just saying this burden is a little bit too heavy for your servant, Lord. If you could just remove this boulder off a nigga's back, Jesus, I'd really appreciate it, Lord. I'm just... I'm just saying, Jesus, my cup runneth over, Lord, is what I'm saying, and, thing is, I ain't even thirsty, Jesus, not a little bit. You can take this whole cup, the pitcher, the carafe, all of it, Jesus." Fucked up. You in that motherfucker, and all you thinking is, "I can't wait to get the fuck out of here, and there ain't shit going to make me stay in this son of a bitch." But they got some medication in the crazy house that will put an elephant on his back. And I don't know if you can see from your chair, but I'm not even a baby elephant, and they still gave me the whole elephant's pill. I have a trunk, but I am no elephant. They had me on five, six medications at one motherfucking time, just trying to break a nigga. They had me on some shit named Seroquel. I don't know what the fuck is in Seroquel, but I think Satan's penis is in it, I really do, because it's from Hell. That shit... if you whisper "Seroquel" to me, I become a different nigga. Just... Seroquel. I'm just trying to find my happy place. I love these soft-ass pants. It's fucked up. I got out that motherfucker. I said I'm going to fix every motherfucking thing that's wrong with me. I'm going to fucking get all my shit together. That's when I realized you can't even trust simple shit. We used to think our doctor gave a fuck about us. We used to think our doctor wanted us to get better so we would be better. Our doctor don't give a fuck about us. That motherfucker is making money, and that is it. He is a drug dealer just like the drug dealers. Ain't no motherfucking difference. It's fucked up. It's fucked up. 'Cause the medicine commercials have really gone over the top. They don't even give a fuck about us as people any- motherfucking-more. Do you remember when they used to at least have the common decency to whisper the side effect at the end of the... you could barely hear the fucked-up shit that could possibly happen to you. They just, "Possible side effects are... Now these motherfuckers say the motherfucking side effect so motherfucking loud and proud, you forget what the fuck they were supposed to be curing in the first place. And they just keep going and going, just... "Are you tired of hangnails ruining your life? Well, just take this simple pill, and in two weeks, you'll be jumping rope and running back to usual. Possible side effects are loss of the rest of your toes, fucked-up ankles, dislocated kneecaps, separation of thigh meat, hip dysplasia, innie-outie belly button, female breasts. If you have two Adam's apples, if your chin falls off, if you go blind or deaf for any reason..." What the fuck?! Just cut my goddamn toe off, bitch. I got shit to do! Just saying you got to try whatever you can."

"If you in a relationship, you can't afford to take that shit for granted, 'cause you don't know when bullshit going to happen, and you need somebody that you can post the fuck up with in times of trouble. I didn't know you could stay single too long. Nobody fucking told me that. I fucked around, stayed single so long, now I'm in the gray area. I'm in the gray area. I didn't even know there was a gray area. I stayed single too long. Everybody I fuck, she's either too young or she's too motherfucking old. If she's too young, she's a greedy rabbit. If she's too old, she's a needy fish. Both of 'em got different shit. If she too young, you know she too young. How do you know? She is doing everything she ever saw on any porno on your nonporno dick. Shit that has nothing to do with sex at all. She just... Fellas, have you ever been fucking her, and she too young, and you realize halfway through this is not a fuck, this is a fight? She don't give a fuck about your pelvis at all. Fellas, you ever had her knock you off your pivot foot? She just... A greedy rabbit. Both of 'em talk too much. But at least the greedy rabbit is saying inspirational, motivational shit to the dick. She just, [Repeatedly] "Yes.., that's good. All right. That's good. Right. [Repeatedly] Yes..." The old one talk too much too... but you can't understand shit she saying. When you do, it's going to scare the shit out of you. She just, "Raah. Raah. Eh, glory. Ah, Jes... hah. Ah, hot water, corn bread. Ah-hah." She's too old. She's a needy fish. Got to pay attention to her. They ain't like a young one. As a fella, you just used to showing up at the battlefield... unsheathing your sword, and jumping right into the battle. Not if she too old. No, you got to watch her. You used to being able to just watch her face and know how you doing. Not if she too old, 'cause you don't know none of her faces. She fixing to come and die with the same face. How the fuck am I supposed to know? She just... Just saying, they're both different. I stayed single too motherfucking long, and the world is beginning to change. And I been hearing ladies think motherfuckers have changed as it comes to them. Ladies, I can't speak for all men in attendance today, but I can speak for all heterosexual men in attendance today, and, ladies, let me say nothing between men and women has changed at all. We love y'all now the same way we have always loved y'all. We put pussy above everything on Earth, same as usual. Pussy, then the rest of it, that's how it goes. Pussy's so good, we don't even have good reasons for it. Pussy is delicious... because it has pussy in it. That's been good enough for men for thousands of years. And as men, we hate to see pussy get attacked. We all as men remember where we were last year when we saw pussy get attacked for the first time, when Michael Douglas got on TV and said he caught throat cancer from eating pussy. Every man in the world stopped in front of his TV, like, "What the fuck, Michael Douglas?! Don't throw pussy under the bus, you son of a bitch. Say you were smoking Cuban cigars and sucking dick, you motherfucker." Life is already too hard as it is. You can't die from eating pussy. That's in Revelations. You already embarrassed to eat the box for the first time as it is. Now this bitch done got a hair in my throat. I thought she was trying to assassinate me. I... "Agh. Ah, you dirty bitch. Agh. Agh, I can't believe you brought that smoky-ass uterus over here, bitch. Agh. Ah, I feel a tumor in my throat already, bitch. Agh." In conclusion... when we leave this building, the police is going to be out there. The people that... the people that hate you not because you better than them, but because you try harder than them and you work harder than them, and you care more than they do... those people are outside, and... and the people that say even if you doing good, you is fixing to fuck up, them people are outside. And the people that see you fucked up and go, "I bet you don't come back," they outside too. But what's in here is people that know no matter how shit looks, the real shit is going to be the real shit as long as real shit is valuable. Because everybody in the world has a price, because if you didn't, you'd be priceless. This is to the motherfuckers who cannot be bought, but can be fought. Y'all been all that. [Proceeds to give thanks to producers and bid the audience good night]"

"I'm going to have cute boobs 'til I'm 90, so there's that. I'll have the best boobs in the nursing home. I'll be the envy of all the ladies around the bridge table."

"Dr. Lilian Thurman: Do you still think about girls a lot? Donnie: [Under hypnosis] Yeah. Dr. Lilian Thurman: How are things going at school? Donnie: I think about girls a lot. Dr. Lilian Thurman: I asked you about school, Donnie. Donnie: I think about fucking a lot, in school. Dr. Lilian Thurman: What else do you think about, when you're at school? Donnie: Married With Children. Dr. Lilian Thurman: Do you think about your family? Donnie: I just turn down the volume and think about fucking Christina Applegate. Dr. Lilian Thurman: I asked you about your family. Donnie: [Chuckling] No, I don't think about fucking my family, that's gross."

"The greater your capacity to love, the greater your capacity to feel the pain."

"Life is funny. Life isn't categorized into comedy, drama, action, is it? So I don't know why they try to categorize everything. It drives me crazy—why it would have to be just a romantic comedy or … I want to have a little integrity, a little story, you know?"

"I think there comes a point where you have to grow up and get over yourself, lighten up...and forgive."

"I don't know if I ever really get mad in real life. It's what my shrink was saying to me all those years: You need to get mad! I think rage is so ugly. I just think there's a way to be mad and discuss it."

"I don't... like... girls... whining... and complaining... about... wanting a man! I never liked Sex and the City, the kind of thing where women only feel empowered once they find the Man. It is just not up my alley. I don't believe in it. There is nothing you can control about love. Somebody once said, Everything you want in the world is just right outside your comfort zone. Everythingyoucouldpossiblywant!"

"But you know, it isn't designed. Love just shows up and you go, "Oh, wow, this is going to be a hayride and a half.""

"I'm not saying I'm 40. I'm 30-10. I don't feel 40. I don't know what it means. I just know that all of a sudden it's something that's in print next to my name. AND NOW SHE'S 40. It almost feels like some sort of badge of honor in a weird way."

"There is more to me than just a tabloid girl. This whole "Poor lonely Jen" thing, this idea that I'm so unlucky in love? I actually feel I've been unbelievably lucky in love. Just because at this stage my life doesn't have the traditional framework to it — the husband and the two kids and the house in Connecticut — it's mine. It's my experience. And if you don't like the way it looks, then stop looking at it! Because I feel good. I don't feel like I'm supposed to be any further along or somewhere that I'm not. I'm right where I'm supposed to be."

"I hate Jennifer Aniston. She keeps making the same romantic “comedy” movie over and over and over again and it’s always not funny, not funny, not funny."

"Actually, it's tough, because he's not really screwing up. He seems to be doing a good job, but we're there just in case — the first time he does anything."

"Honestly, it's the greatest show on television. It's live. It's topical. It makes you laugh. It's just a great vibe."

"When I got asked to sing "Silent Night" on Late Night with Jimmy Fallon just before Christmas, I saw it as an honor and an opportunity. I loved that show, so being a guest on it was awesome. It was also the first time since way back in the beginning that I just sung without all the choreography. I'm always dancing or running around. But this time, it wasn't about the spectacle. It was all about my voice. And that sing is no joke, either. It felt like I was being recognized as a real singer. And that's really important to me. Music is my life, and in order to build a meaningful career, making the best-quality music I can is my priority."

"This week, NBC told us five years in advance that Conan O'Brien will take over for Jay Leno, but the network still hasn't said who'll take over for Jimmy Fallon this weekend."

"I'm not a vegetarian because I love animals. I'm a vegetarian because I hate plants."

"That is the saving grace of humor, if you fail no one is laughing at you."

"There are a billion people in China. It's not easy to be an individual in a crowd of more than a billion people. Think of it. More than a BILLION people. That means even if you're a one-in-a-million type of guy, there are still a thousand guys exactly like you."

"Who would have thought that the fatal flaw of communism would be that there's no money it."

"Tasmania is famous for its shape, which is the same shape as the pubic hair region on a woman's body, which I personally don't identify with. Mine's more like a map of the former Soviet Union. Not to scale."

"...You shouldn't clap, that [was] a lie... I like to tell lies. According to Shakira, hips don't lie. Which makes me a bundle of contradictions."

"My mother doesn't like sex. She doesn't like the word, she doesn't like act, and I'm not entirely sure she's too impressed with the results. Ah well, you get out what you put in."

"I don’t want to circle the drain of trauma. I don’t want to be a one note comic. I want to have freedom of expression, and in order to do that, I need to train my audiences to not expect stuff from me."

"I think there’s something also quite political about a genderqueer performer expressing joy on stage."

"I do think conversations are at a point where we’re not listening to people with lived experience anymore. We’re listening to people who have really hostile reactive views, and that it’s caught up in a moral panic, which also has a very, very strong right-wing online presence that is stirring up the debate, and it’s fairly unacknowledged. I want to come from a more constructive point of view, like I am genderqueer. I have a life, and it doesn’t revolve around trying to justify my existence."

"everyone around the world has a humor"

"if you want to change the conversation, you really do have to step into the murky waters, don’t you?"

"Ever since I can remember, my thoughts have been plagued by a sense that I was a little out of whack, as if belonging was beyond me."

"As a coping mechanism for teenage me, masking was an incredibly successful tactic – I was only bullied intermittently during my school years – but as a catalyst for growth, it worked more like castration."

"I wish more than anything that I had known about my ASD when I was a kid, just so I could have learned how to look after my own distress, instead of assuming my pain was normal and deserved. There is no one to blame, but I still grieve for the quality of life I lost because I didn’t have this key piece to my human puzzle."

"I am unable to intuitively understand what I am feeling, and I can often take a much longer time to process the effects of external circumstances than neurotypical thinkers. But it is they who get impatient with me, and under that pressure I feel forced to guess my needs before I have had time to process stuff in my own way, and so mistakes are made...You know how sometimes you put your hand under running water and for a brief moment you don’t know if it is hot or cold? That is every minute of my life."

"I only wear blue clothes because blue makes me feel calm. I listen to the same music, watch the same shows, and eat the same foods over and over again without any qualms. I find joy in my life where once I couldn’t because I was too busy trying to do the “right” thing instead of checking in with my own needs first."

"Please stop expecting people with autism to be exceptional. It is a basic human right to have average abilities."

"I am never not cross-referencing the trees with the forests, and it can be a very exhausting way to engage – but I wouldn’t change it for the world, because I believe communities need thinkers like me."

"There is nothing stronger than a broken woman who has rebuilt herself."

"I built my career on writing jokes apologizing for myself. It’s what most people do. You have to explain who you are, and you point to a difference that you have. That’s your angle. But when it becomes the only reason you speak, it becomes an issue; all your material revolves around why you’re different. The great freedom post-“Nanette” was that I’d put all that on the table."

"I couldn’t have written ‘‘Nanette’’ without understanding that I had autism. I don’t read the world the way other people read it."

"I think a helpful way for everybody to think about it is that I’m not on the spectrum: Everybody is on a spectrum. The human brain is on a spectrum, just as gender is."

"There’s a lot about me that people are like, ‘‘Ah, look, lesbian,’’ and really it’s about me not wanting to think about my physical self so I can just get on with things."

"Autism is not a prison. It’s not something that should be terrifying. It is not a disability except that the world makes it incredibly difficult for us to function — and no one is asking what people with autism think."

"(You spend time in the new special responding to your online trolls. Why not just ignore them? Isn’t devoting time to them a way of giving them power?) These people are actually humans. They live and they say things and they mean it, and I can’t believe that in all aspects of their life they’re that crazy. I don’t want to live in a vacuum where I’m like, There are those people with dumb ideas. I want them to know their ideas are dumb but they’re not dumb."

"People think that if you get up onstage, a joke is funny or it’s not. No. The audience is participating in this conversation. The audience brings their own baggage. So I would never say you cannot do rape jokes. I’m just saying can we please acknowledge that women get raped? Men also. People get raped, and it’s traumatizing, and we do not have a language or a narrative in which to place that wider trauma. So just having throw-away punch lines, sure, you can do it, but people get triggered, and the reason people get triggered is because other people don’t care. They’re like, “We think it’s funny; get over yourself.” That’s because there’s no broader cultural context for the viewpoint of people who’ve been traumatized. I don’t believe in censorship, but I don’t think it’s a bad thing to say, “Hey, be better.”"

"A Netflix deal is fantastic, but it hasn’t changed my life, because I keep my life small."

"In recent years, the public has slowly become familiar with the idea that women with Autism exist, and a few excellent books like Jenara Nerenberg's Divergent Mind and Rudy Simone's Aspergirls have worked to build awareness of this population. It's also helped that high-profile Autistic women like comedian Hannah Gadsby and writer Nicole Cliffe have come out publicly as Autistic."

"Everyone who has gambled on keeping the three of us together so far, it's gone well. We figured it couldn't hurt to see how long we could ride it."

"Woooo! 3, 2, 1, go! Have you heard the news? Everyone’s talkin' Life is good ‘cause everything's awesome Lost my job, there’s a new opportunity More free time for my awesome community I feel more awesome than an awesome possum Dip my body in chocolate frostin' Three years later wash off the frostin' Smellin’ like a blossom, everything is awesome Stepped in mud, got new brown shoes, It’s awesome to win and it’s awesome to lose."

"I jizz right in my pants Every time you're next to me And when we're holding hands It's like having sex to me You say I'm premature I just call it ecstasy I wear a rubber at all times It's a necessity."

"I'm on a boat, motherfucker, take a look at me, Straight floating on a boat on the deep blue sea (yeah, yeah). Busting five knots, wind whipping out my coat, You can't stop me, motherfucker, 'cause I'm on a boat."

"Lazy Sunday, wake up in the late afternoon, Call Parnell just to see how he’s doin’. Hello? What up, Parns? Yo, Samberg, what’s crackin'? You thinking what I’m thinking? Narnia! Man, it’s happenin'!"

"Roll up to the theater; ticket buying, what we’re handlin' You can call us Aaron Burr from the way we’re dropping Hamiltons. Now parked in our seats, movie trivia's the illest. "Which Friends alum starred in films with Bruce Willis?" We answered so fast it was scary. Everyone stared in awe when we screamed "Matthew Perry!""

"Girl, you know we've been together, such a long, long time (such a long time) And now I'm ready, to lay it on the line. Well, you know it's Christmas and my heart is open wide (open wide). Gonna give you something so you know what's on my mind (what's on my mind). A gift real special, so take off the top, Take a look inside - it's my dick in a box (it's in a box)."

"I don't sleep, motherfucker; off that 'gnac and the durban, Doin' 120, gettin' head while I'm swervin'. Damn Natalie, you a crazy chick. Yo, shut the fuck up and suck my dick! I bust in dudes' mouths like Gushers motherfucker, Roll up on NBC and smack the shit outta Jeff Zucker"

"I just had sex, and it felt so good (felt so good). A woman let me put my penis inside of her. I just had sex, and I'll never go back (never go back) To the not-having-sex ways of the past."

"'Cause I’m a Motherlover, You’re a Motherlover. We should fuck each others mothers, Fuck each others moms. I’m pushing that way where you came out as a baby, Ain’t no doubt that shit is crazy. Fucking each others moms. ‘Cause every Mother’s Day needs a Mother’s Night. If doing it is wrong, I don’t wanna be right."

"At the Farmer's Market with my so-called girlfriend. She hands me her cell phone says it's my dad, "Man, this ain't my dad, this is a cell phone." I threw it on the ground. What you think I'm stupid? I'm not a part of your system. My dad's not a phone, duh!"

"Yeah, and here's another piece of advice: Stay away from kids, 'cause their hair is filled with mad lice. There's no such thing as too much Purell. This a cautionary tale, word to George Orwell. So don't 1980-force any plugs into sockets, Always wear a chastity belt and triple lock it, Then hire a taster, make him check your food for poison. And if you think your mailman is a spy, then destroy him."

"Kings of the bar scene, pounding on brewskies, Banging chicks right there in the sand. Bros before hoes and chicks with no clothes and Slamming shots and marry a man."

"Back in that ass, yeah Your mom says hi, jinx!"

"Hey, boys, I want you both, I hope that you think that's cool (Say word?). I know most guys won't freak together. But she forgot about the golden rule Ah-ah-ah!It's okay when it's in a 3-way. It's not gay when it's in a 3-way. With a honey in the middle, there's some leeway. The area's grey in a 1-2-3-way."

"As they become adults, they are feeling that they have different interests at times, and they all realize that it is healthy [to] go and do individual stuff. But I feel right now that they really enjoy being with each other and really respect what each member brings."

"Let other dance styles inspire and influence your own and remember that there are no boundaries. Dare to be original."

"...it’s your work ethic that is going to get you far, no matter what you do."

"Enjoy the journey. Enjoy the journey, and the hard work and the sacrifices and opportunities it takes to get somewhere, because it will all make you better at what you do when you arrive."

"Be proud of what it is that you’re doing and you’ll do a better job."

"Ask yourself why you [dance]. Don't do it for the wrong reasons. You have to love it because it's a tough business and you're not always going to get to do the cool jobs and those things. So if your heart is in the right place, you will find happiness within the dance."

"If you fall out of love with what you’re doing, don’t be afraid to move on. And failing once doesn’t mean you’ll fail every time. You will fail, however, if you don’t learn from your mistakes. Fight for what’s important to you, but be conscious of your approach when speaking up. If you speak out of anger, odds are, your message won’t be heard as clearly. And never let the envy you might feel for another turn into jealousy or hatred. Instead, use that energy as motivation to work harder."

"Dance from your heart. If you dance from your heart, you'll always love it."

"I think they're all equally hard. They all have their own techniques and when you don't train in that technique then it's difficult. Y'know, especially for somebody in a ballroom who's use to stepping heal-to-toe and they get into a jazz routine and they're up on relevé the whole time. So everything has its own technique and when you get use to one way, it's difficult to switch."

"I think the future of dance is where we came from, where the dancers are the stars and I see in the next ten years dancers being these huge stars and the movie musical coming back."

"Dance is not an internal thing. You have to be able to give to somebody else visually watching or they won't care. If they don't leave with some type of emotional feeling—whether it be you cry, or you laugh, or you jump in the air for joy—then it becomes movement and we haven't done our job."

"We see people who dance really well and can't perform all the time. It's in our community, our dance community. It's like that because we've been doing back-up dancing for so long. We're always in the background of the movies and we're always behind the artist so our job is not to outshine the artist. Well now, with all these dance television shows, we're getting a chance to be the artist. We're on the forefront. We're the Gene Kellys and the Fred Astaires of this generation and it's our job to make people feel something and to really perform."

"This time in dance, this era, is probably one of the most entertaining times. It's got this whole new style of hip-hop which encompasses 20 different styles within it. There's no boundaries to it so people are taking it to the next level. And I think as an audience, everyone is saying Whoa, that is energetic. That is gymnastics, that is dancing, and that's entertainment combined in one. And that's a beautiful thing."

"Somewhere in the world of dance we started thinking about steps way too much: technique, steps, technique, steps. You can do all the technique you want, the regular public doesn't know. All they know is how you perform and what you tell them and what you make them feel; and when you make somebody feel something, it is undeniable."

"There's a life to dance that has to happen and it was seen years ago with Gene Kelly, Fred Astaire, Ginger Rogers, and the life and the feeling they had in a performance. And when you watch them and you see them and you start to sway with them and you start to move with them and you miss that sometimes and that's what needs to happen with dance again."

"Why would you want to be back-up dancer when you could be the actual star? Let's show the world that we're stars. Let's perform like stars."

"When you can tell the story of the song through your movement, it's brilliant. It comes across as so honest and not fake."

"This is one of the great things about this show is that we've really explored a totally new thing which is lyrical hip-hop and [Tabitha and Napoleon] nail it... It shows you that hip-hop [has] completely become a really legitimate beautiful genre in and of its own and you can tell such beautiful and heart breaking stories."

"What better work can you ask for than to be with her?"

"I am crazier about him than ever... We have been working together for so long. We know how one another operate and have such a good rhythm. If we are apart, I miss him because I need his feedback. I welcome his input even if it is different than mine because it always gives us a better product."

"I guess it's the first season... where I've been effected emotionally by hip-hop routines."

"Usually their choreography's a bit cotton candy..."

"We work together so much; it's weird doing even an interview separately, … [a]nd when we teach we vibe off each other. I'll start a joke, and Tabitha will finish it. I'll start choreographing, and she'll continue. We don't plan it like that; it just happens."

"I love the So You Think You Can Dance show. I love it. I think it’s some of the best hours on TV. I think those dancers are extraordinary and, more so, I think those choreographers are uniformly amazing[...] And so I got two of who I think are the best choreographers on SYTYCD — Tabitha and Napoleon — to be involved in some movement elements. Because I think when dance is mediocre, it’s painful. But when dance is really impressive, it destroys."

"I don't know how they do it but [Tabitha and Napoleon] love each other so much. They're this husband and wife duo that work together all the time and yet I've never seen them have an argument. I've never seen them kind'of roll their eyes at each other. I've never seen anything like that. They are the perfect example of a fabulous marriage."

"Honestly, I thought of him as a good-looking jock kind of guy, and I didn’t think he was very artistic or very smart."

"Somehow Napoleon and Tabitha have this ability... to put emotion into hip-hop routines and it really is a real talent."

"One of the biggest complaints about season 4 is the time the judges spent heaping endless praise upon the choreographers rather than discussing the dancers, but in the case of hip-hop choreographers Napoleon and Tabitha Dumo [sic] (i.e., [NappyTabs], now and forever), that praise was well-deserved. The couple brought a lyrical storytelling sensibility to their routines that transformed hip-hop from hard-hitting abstract steps to something far more emotionally engaging."

"Maybe it's because Laurieann Gibson is my choreographer and I'm really close with her but it's the interpretation of hip-hop that I thought was a little bit contrived."

"Well what happened was I was asked to be on Seinfeld. They said: “Would you do a Seinfeld?” And I said, and I just happened to know to see a few Seinfelds and I knew these guys were really tops; they were really, really clever guys, and I liked the show. And so I said “Sure!” and I thought they would ask me to do a walk-on, the way it came: "Would you come be part of the show?" And I said “Yeah, sure I’ll do it.” You know what I mean? Then I got the script and my name was on every page because it was about my car. And I laughed; it was hysterically funny. So I was really delighted to do it. The writer came up to me and he said “Jon, would you come take a look at my car to see if you ever owned it?”, because the writer wrote it from a real experience where someone sold him the car based on the fact that it was my car. And I went down and I looked at the car and I said “No, I never had this car.” So unfortunately I had to give him the bad news. But it was a funny episode."

"And they — what I hear, you know, talking about our president. When I hear people saying quite unthinkable things about our president, when I see our president defaced, which is defacing our country. He's the leader of our country. He's the leader of the free world. It — my heart is very heavy."

"I'm here to validate all the millions of people who are opposed to the Obama healthcare. We're witnessing a slow and steady takeover of our true freedoms. We're becoming a socialist nation, and Obama is causing civil unrest in this country... The stimulus didn't work.... We're being told what cars we can drive, how much we can make.... Obama has made this [healthcare] a personal crusade now.... As we can see it really is about him. He is arrogant and he's adamant that he's going to get this passed.... He's trying everything, even the so-called God card. If you love God, he tells us, then it's your duty to vote this healthcare bill in.... They're taking away God's first gift to man. Our free will."

"I'm honored to be at the side of Michele Bachmann. She is a great congresswoman. She is a great human being, and she is a true American patriot."

"Donald Trump is the greatest president since Abraham Lincoln."

"I’m still just reveling that someone from Hollywood made a speech like that. I hope you’re going to be able to find work after this. I really enjoyed that."

"I would love to have us all psychologically evaluated and let a court decide. If he was not a celebrity, everybody would think he was a crazy father of an actress, but he somehow has them saying, "We know this man, we've seen him in films, he can't be crazy.""

"I, like every other stupid American, assumed the kangaroos would meet us at the airport and they would want to hug us as much as we wanted to hug them. … [In Sydney's zoo] I did find out about the koalas and how eucalyptus makes them high and why they sleep all day. They're little druggies."

"I have always been an animal lover. I had a hard time disassociating the animals I cuddled with—dogs and cats, for example—from the animals on my plate, and I never really cared for the taste of meat. I always loved my Brussels sprouts!"

"Cooking is my love language, where there's the most amount of giving selflessly. … It's more about the health benefits than the ethics. But it's compounded by the fact that I love animals and feel better not eating them."

"When you listen as fiercely as you want to be heard, when you respect the idea that you are sharing the Earth with other humans, and when you lead with your nice foot forward, you will win, every time. It might not be today, it might not be tomorrow, but it comes back to you when you need it. We live in an age of instant gratification, of immediate likes, and it is uncomfortable to have to wait to see the dividends of your kindness, but I promise you it will appear exactly when you need it."

"In this age of cynicism, bipartisanship and personal cowardice, it's refreshing to find a group of people willing to die for what they believe."

"The angry "@" tweets from my hammer toed followers opened my eyes. "Pedo-phobe" shaming hurts us all. I am a PROUD pedophile!"

"My dong is super-friendly and loves getting rubbed by children. #CareerEndingTwitterTypos"

"If they've really caught the #GoldenStateKiller, I hope I get to visit him. Not to gloat or gawk — to ask him the questions that @TrueCrimeDiary wanted answered in her “Letter To An Old Man” at the end of #IllBeGoneInTheDark."

"...I send money to NPR [National Public Radio], I support them, I support them philosophically. But, it's UN-LISTENABLE RADIO! You understand me? I send them money, so I don't have to listen to them. When, when did conservatives steal rock and roll from us? When did that happen? All the AM stations, nothing but racist fascist douchebags, all their break music is this blasty-ass, gut-bucket rock and roll. Bill O'Reilly will play the White Stripes, for God's sakes! Then you turn it over to NPR and their break music is a sad, lonely saxophone echoing through a sewer pipe somewhere. When did that happen? So you turn it on, [imitates AM radio announcer] "Next on Bill O'Reilly, why black people smell different!" [imitates hard rock electric guitar]. [imitates NPR announcer] "Later on NPR, we'll talk to a woman who makes macrame belts out of old typewriter ribbons." [imitates sad lonely saxophone echoing through a sewer pipe]. Play some Zepplin, for God's sake. "It's our pledge drive here on NPR, and we have a 20-minute field recording of a tumluku which is a Bosnian instrument which can only be played when you have a pierced scrotum and three kids who have been killed by a land mine." [imitates tumluku]. "The Tybeshian practice of scream-singing rightfully died out in the 4th Century B.C., but two Berkeley trust fund students have revived it and here is a 40 minute sample." [screams incoherently]."

"Every time I'm on a TV show, and I have a [sexually explicit] line, they never say, "Don't say that! At all!" Because I wouldn't; I know you're not supposed to say that. Instead they say: "Can you find a cute, G-rated way to say that?" Okay. Cleaned-up, G-rated filth is way creepier than straight-up filth. Which is creepier: "I wanna shove my hard cock in your wet pussy" or "I'm gonna fill your hoo-hah with goof juice!" That line right there is completely G-rated. You can say that on TV. And that's fuckin' horrifying. ...Try saying that in bed, "I'm gonna fill your hoo-hah with goof juice," and prepare for the winter-y freshness of Mace."

"If the standard for being impeached is "getting a blowjob" or "covering up a burglary", then shouldn't Bush have been executed by now?"

"They had a class at my college called "Physics for Poets!" Hey there, theater fags and English queers! Put on some pantaloons and a scarf and take a bracing shot of absinthe and skip on down through a field of gilly-flowers to the Physics department, where we'll teach you about the music of the spheres! Without using any scaaary numbers! And you can ask questions like, "Is the red planet Mercury like the crimson eye of Cerberus?" Whatever, D'Artagnan, sit the fuck down. Let's just get you through this."

"I was thinking the other day about a time machine... and the first thing I thought of doing if I actually had a time machine, is that I would go back in time to about 1993 or '94, and kill George Lucas with a shovel."

"I don't give a shit where the stuff I love comes from! I JUST LOVE THE STUFF I LOVE! Hey, do you like Angelina Jolie? Does she give you a big boner? Well, here's Jon Voight's ball sack!"

"I love the fact that I grew up in Sterling, I really do. Because when you're growing up in a nondescript, soulless, boring town, you've been given a present from God. And the present is: The Test of the Small Town. And you pass that test when you go, "I'm leaving before I kill everyone and then myself." That's when you pass. You have passed. You fail when you go, "I'll get a job at the Citgo and fill my truck up for free!" Oops, you fucked up. And the person who administers your test, year after year, until you can't take it any more until you can't take it and you leave, is the movie critic on the local news. That's the guy whose job it is to keep everything relevant and cool and important away from you. You have to get off your ass and go find it on your own initiative."

"[on KFC's Famous Bowls] I just want kind of a light brown hillock of glop. If you could put my lunch in a blender, and liquefy it, and then put it into a caulking gun and inject it right into my femoral artery, even better! But until you invent a lunch gun, I would like a failure pile in a sadness bowl!"

"Hey Patton, looks like Paris Hilton's writing a book. And I go, "She's a cunt who should die of AIDS." They go, (nervously) "Ah ha ha, okay! Hey! All right... um, okay, follow-up question. She's also coming out with a line of handbags," "As long as she gets AIDS, that's fine with me, man. If she could get cancer of the AIDS of the leukemia of the eyes, that'd be awesome. If like, a biker could fuck that into her skull...""

"If another one of my Whole-Foods friends says my wife should have a home birth, I am going to punch all the soy on the planet."

"[on Barack Obama's election] Do you realize for the next four years America is gonna be a cool eighties cop flick? "Barack, get your ass in my office now! Did you balance the budget again?!" "Yeah, it was just sitting there, chief..." "You wrecked twenty cars! Senate's gonna have my ass for this." "Eh, whatever, chief." And he rides away in a Camaro on two wheels."

"The night we elected Obama, CNN had holograms. They had fuckin' holograms. We have Star Wars technology now. What if that means Barack is gonna to be the miracle he seems to be? What if this really is the dawning of an amazing age? He gets in there, fixes the economy, gets us out of Iraq and Afghanistan. We've got Osama bin Laden and George Bush in dunking booths filled with urine. You can just throw apples at em all day. And then what if he starts slinging amazing future technology on us. You know suddenly we get hover boots and teleportation pills and there's floating cars everywhere. At that point, would there be like two remaining holdout racists left? Like the last two guys down in Arkansas, in their hover boots? Just going, "Yeah, there's that nigger that gave us anti-gravity. I'm gonna be late to the cross burning. My free government blowjob robot broke. Fuckin' bullshit. This guy's the worst president ever. Just like a black guy to give you a blowjob robot for free and it breaks after 6 years. This sucks.""

"I didn't realize how bad my outlook on life is until I went on a press tour for Ratatouille and had to talk to children's magazines and children's TV shows. And I wasn't interviewed by adults; I was interviewed by actual smiling children. And I didn't realize until that point how desperately I depend on negativity and cynicism just to communicate with the outside world. It's pathetic. The Oswalt family crest should just be a pair of eyes rolling off to the side, a bag of Cheetos, and then the word "fuck." That would be our shield that you'd see retreating from the great battles of history. "Fuck this. Bows and arrows? Nobody told me anything about bows and arrows. Goodbye.""

"I'm an atheist and I love religion. And I don't love religion in a snarky mean-spirited way; I unabashedly, sincerely love that we have religion because if we didn't, we wouldn't be here right now; being all postmodern and ironic. There'd be no civilization. If no one invented religion, we'd be fucked right now. Because at the dawn of man, civilization was the biggest and the strongest... and that's as far as we're gonna go. It was whoever was the biggest fucked, killed, ate anything they wanted. That was it! Civilization was a huge psychopath with a club goin', "I'm gonna have rape for dinner." That was it! That's as far as we were gonna go. And then one of my ancestors, some weakling, said, "Look there's no way I can beat that guy, but what if I trick him into thinking that if he doesn't kill and rape people while he's down here, when he dies there's a magic city in the clouds and he can go up and have all the cake he wants?" Now that's not a very well formed plan but he went and told the big psycho. And the psycho heard that and said, "Uhh, I like cake." "BOOM! There you go! That was the beginning of civilization. Now we can work on fire and writing and agriculture. That's religion. It's the ol' sky cake dodge; it worked! And by the way, things were great for a while. But then, what was happening then was that shit was going on all over the planet. They would just use different deserts. They would tell them about sky cookies, or sky pie, or sky baklava. So as each of these civilizations grew, they built ships; they'd go visit each other, and the one guy would walk off the boat and go, "Hey, did you hear the good news about the sky baklava?" and the first guy went, "It's CAKE, motherfucker! You're dead!"..."

"In the middle of Tom Cruise's speech, there's this sudden, dramatic pull-in to his face, and there's tears in his eyes, and he says, "we live in a cynical world," and that's when my brother went, "FUCK YOU!" at the top of his... oh, my God. That was... it was such a horrible, rude thing to yell, and I was laughing so hard. I could not get the air in to make the sound of laughter. People ask me, "what is your favorite comedy of all time?" Jerry Maguire, when my brother yells, "fuck you!" at Tom Cruise. It is a 90-minute setup to one punchline. It's like not jerking off for ten years, and then painting the garage! Oh, my God, I'm seeing dead kings!"

""You've gotta respect everyone’s beliefs." No, you don't. That's what gets us in trouble. Look, you have to acknowledge everyone's beliefs, and then you have to reserve the right to go: "That is fuckin' stupid. Are you kiddin' me?" I acknowledge that you believe that, that's great, but I'm not gonna respect it. I have an uncle that believes he saw Sasquatch. We do not believe him nor do we respect him!"

"When I was 25, all I did was just scream, "Sellout! Fucking sellouts. Corporate sellout. Industry bullshit. Meh-meh-meh." I look back on it and I realized, "oh, I was screaming 'sellout' because nobody wanted to buy what I was selling.""

"When you run with the Doctor, it feels like it'll never end. But however hard you try you can't run forever. Everybody knows that everybody dies and nobody knows it like the Doctor. But I do think that all the skies of all the worlds might just turn dark if he ever, for one moment, accepts it."

"Everybody knows that everybody dies. But not every day. Not today. Some days are special. Some days are so, so blessed. Some days, nobody dies at all. Now and then, every once in a very long while, every day in a million days, when the wind stands fair and the Doctor comes to call, everybody lives."

"We saw some amazing actresses for this part. But when Karen came through the door, the game was up — she was funny, clever, gorgeous and sexy. Or Scottish, which is the quick way of saying it. A generation of little girls will want to be her. And a generation of little boys will want them to be her too."

"I'm not a psychopath, Anderson, I'm a high-functioning sociopath. Do your research."

"As we all know, it is the proper duty of every British subject to come to the aid of the TARDIS."

"What would be the point of having this job if I didn't get to make up some of the maddest possible scenes I've ever had in my head since I was a kid? For him to stand there and take the mickey out of all those monsters — is just hugely exciting."

"First there were the Daleks...And then there was a man who fought them. And then, in time — he died. There are a few, of course, who believe that this man somehow survived, and that one day he will return. For both our sakes, dearest Hannah, we must hope these stories are true."

"Do you know how you make someone into a Dalek? Subtract Love, add Anger."

"I think people have come to think a plot hole is something which isn’t explained on screen. A plot hole is actually something that can’t be explained."

"We've kind of got to tell a lie. We'll go back into history and there will be black people where, historically, there wouldn't have been, and we won't dwell on that. We'll say, 'To hell with it, this is the imaginary, better version of the world. By believing in it, we'll summon it forth'."

"I want people to stop saying it. It is witless. It is appalling that in the face of people's genuine tragedy and traumatic loss, you trot out a stock phrase. What is the matter with you? "Thoughts and prayers?" How about you send money? I mean, how about you send some help? How about you do something? "Thoughts and prayers" is, "Nevermind. Oh, well." I thought that if I can just get it in there like, "Exterminate," as what evil robots say, then maybe people will stop saying that idiotic phrase."

"Stay away from the church. In the battle over science vs. religion, science offers credible evidence for all the serious claims it makes. The church says, “Oh, it’s right here in this book, see? The one written by people who thought the sun was magic?” I for one would like to see some proof that there is a God. And if you say, “a baby’s smile,” I’m going to kick you right in the stomach."

"Why is it that Johnny Spaghetti Stain in Georgia can knock a woman up, legally be married to her, and then beat the day lights out of her, but these two intelligent, sophisticated writers who have been together for 20 years can’t get married? It’s infuriating and idiotic. I’m incredibly passionate about my support for the gay community and what they’re dealing with at this current point in time. I have arguments with people where I get red in the face, screaming at the top of my lungs."

"They’re literally terrible human beings. I’ve read their newsletter, I’ve visited their website, and they’re just rotten to the core. For an organization that prides itself on Christian values — I mean, I’m an atheist, so what do I know? — they spend their entire day hating people."

"The work of Carl Sagan has been a profound influence in my life, and the life of every individual who recognizes the importance of humanity's ongoing commitment to the exploration of our universe."

"My thought is always, ‘It’s only downhill from here’. That’s how I’ve always operated, ever since I began Family Guy. I had the crippling fear that I used up all the funny last week. That crippling insecurity really drives you to do your best. Your moments of pure joy are few and far between, but they do exist."

"In real life, I'm just an actor. I play pretend. I tell stories."

"Your life is your story and the adventure ahead of you is the journey to fulfill your own purpose and potential."

"I realized that I don't have to be perfect. All I have to do is show up and enjoy the messy, imperfect and beautiful journey of my life. It's a trip more wonderful than I could have imagined."

"I'm the luckiest broad in Hollywood now. To be the lead actor on Scandal and to be in the highest-earning Tarantino movie-I don't get to ask for more."

"Kids are at my level. I like goofing around with them."

"Pardon me for loitering in front of an orchestra."

"Oops! Sorry! I heard someone say “Roar” so it’s kinda went for it."

"How could that have happened? ... Even if it was a hand of God … I’d read – and I don’t know how they know this – but in approximately 3000 BC there was a massive undersea volcano and earthquake, which created a tsunami wave that had to have been a couple of hundred feet high. Just off the heel of Italy. Diagonally across you’re staring right up the mouth of the Nile, so I’m wondering if that had anything to do with that."

"I'm really intrigued by those eternal questions of creation and belief and faith. I don't care who you are, it's what we all think about. It's in the back of all our minds."

"I do despair. That's a heavy word, but picking up a newspaper every day, how can you not despair at what's happening in the world, and how we're represented as human beings? The disappointments and corruption are dismaying at every level. And the biggest source of evil is of course religion. … Can you think of a good one? A just and kind and tolerant religion? … Everyone is tearing each other apart in the name of their personal god. And the irony is, by definition, they're probably worshipping the same god."

"I honestly wasn't paying attention in school when I was told the story of Moses. Some of the details of his life are extraordinary."

"Just stare up at the stars at night, and you'll have those corny thoughts like we all do. How can you look at the galaxy and not feel insignificant? How on earth can we be it? It doesn't make sense. … It doesn't matter how much faith you have or don't have. I just don't buy the idea that we're alone. There's got to be some form of life out there."

"I think he writes the truth. Because life is like that most of the time in some shape or form, whether it’s illness or the end of the world. Cormac’s a writer’s writer. You read his writing and think, I can do that, and then you sit down and try. And you try, dude."

"Most novelists are desperate to do what I do."

"Universe to me is, if you’d like, the final character. Your landscape in a western is one of the most important characters the film has. The best westerns are about man against his own landscape. I think people have lost the ability to do that."

"Oh, it was always my thesis theory. It was one or two people who were relevant were... I can't remember if Hampton agreed with me or not. But I remember someone had said, “Well, isn't it corny?” I said, “Listen, I'll be the best fucking judge of that. I'm the director, okay?” So, and that, you learn -- you know, by then I'm 44, so I'm no fucking chicken. I'm a very experienced director from commercials and The Duellists and Alien. So, I'm able to, you know, answer that with confidence at the time, and say, “You know, back off, it's what it's gonna be.” Harrison, he was never -- I don't remember, actually. I think Harrison was going, “Uh, I don't know about that.” I said, “But you have to be, because Gaff, who leaves a trail of origami everywhere, will leave you a little piece of origami at the end of the movie to say, ‘I've been here, I left her alive, and I can't resist letting you know what's in your most private thoughts when you get drunk is a fucking unicorn!’” Right? So, I love Beavis and Butthead, so what should follow that is “Duh.” So now it will be revealed [in the sequel], one way or the other."

"I had a very specific moment where I had watched Blade Runner [1982] – at home on VHS, not in the cinema because I was then too young. I became obsessed with it, the beauty of the density and layering of the imagery. And then, when I was old enough, I watched Alien [1979], and as when you hear two pieces by the same musician, or read two books by the same writer, I distinctly remember realising it was the same mind behind these two different movies. I had been making my own films, just shooting things and cutting them together, but suddenly, at the age of 13 or 14, I understood directing – the closest thing to what defines filmmaking for me. Realising that there was a mind controlling that aesthetic, that feeling at the end of the film. And it wasn’t any one thing: it was photography; it was sound; it was costumes… It was control over the whole mise en scène. My realisation was very particular to Ridley Scott, and my love for his films and obsession with the way he was doing things."

"My mother would write letters when I was away at camp and say, 'There's an Ann-shaped space around the house. Nobody fills an Ann-shaped space except an Ann.' I'm convinced we all have a God-shaped space in us, and until we fill that space with God, we'll never know what it is to be whole."

"All of us wish we had an Alice. I wish I had an Alice."

"The dead walk among us. Zombies, ghouls — no matter what their label — these somnambulists are the greatest threat to humanity, other than humanity itself."

"Joy, sadness, confidence, anxiety, love, hatred, fear — all of these feelings and thousands more that make up the human “heart” are as useless to the living dead as the organ of the same name. Who knows if this is humanity’s greatest weakness or strength? The debate continues, and probably will forever."

"They teach you how to resist the enemy, how to protect your mind and spirit. They don’t teach you how to resist your own people, especially people who think they’re trying to “help” you see “the truth.”"

"We relinquished our freedom that day, and we were more than happy to see it go. From that moment on we lived in true freedom, the freedom to point to someone else and say “They told me to do it! It’s their fault, not mine.” The freedom, God help us, to say “I was only following orders.”"

"No one would have expected [the escalation of nuclear hostilities], but then again, no one would have expected the dead to rise, now would they? Only one could have foreseen this, and I don’t believe in him anymore."

"The opening bombardment took out at least three-quarters of them. Only three-quarters."

"As soon as the report came in, [General Lang] sat down at his desk, signed a few final orders, addressed and sealed a letter to his family, then put a bullet through his brain. Bastard. I hate him now even more than I did on the way to Hamburg... he knew this was just the first step of a long war and we were going to need men like him to win it... That's why he deserted us like we deserted those civilians. He saw the road ahead, a steep, treacherous mountain road. We'd all have to hike that road, each of us dragging the boulder of what he'd done behind us. [Lang] couldn't do that. He couldn't shoulder the weight."

"The Allies had the resources, industry, and logistics of an entire planet. The Axis, on the other hand, had to depend on what scant assets they could scrape up within their borders. This time we were the Axis."

"Ignorance was the enemy. Lies and superstition, misinformation, disinformation. Sometimes, no information at all. Ignorance killed billions of people. Ignorance caused the Zombie War. Imagine if we had known then what we know now. Imagine if the undead virus had been as understood as, say, tuberculosis was. Imagine if the world’s citizens, or at least those charged with protecting those citizens, had known exactly what they were facing. Ignorance was the real enemy, and cold, hard facts were the weapons. (Page 194-195)"

"Attack. When I first heard that word, my gut reaction was, "oh shit". Does that surprise you? Of course it does. You probably expected "the brass" to be just champing at that bit, all that blood and guts, "hold 'em by the nose while we kick 'em in the ass" crap. I don't know who created the stereotype hard-charging, dim-witted, high school football coach of a general officer. Maybe it was Hollywood, or the civilian press, or maybe we did it to ourselves, by allowing those insipid, egocentric clowns- the MacArthurs and Halseys and Curtis E. LeMays- to define our image to the rest of the country. Point is, that's the image of those in uniform, and it couldn't be further from the truth."

"There's a little pond, in a small town in Poland, where they used to dump the ashes. The pond is still gray, even half a century later. I've heard it said that the holocaust had no survivors, that even those who managed to remain technically alive were so irreparably damaged, that their spirit, their soul, the person that they were supposed to be, was gone forever. I'd like to think that's not true. But if it is, then no one on Earth survived this war."

"You wanna know who lost World War Z? Whales. I guess they never really had a chance, not with several million hungry boat people and half the world's navies converted to fishing fleets. [...] So the next time someone tries to tell you about how the true losses of this war are "our innocence" or "part of our humanity"... Whatever, bro. Tell it to the whales."

"Well alright, anyone who has dreams of world empire, look what it did to Britain. There's a reason that whole country is one big Smith song. That's actually one exciting thing about studying history, there did come a point towards the end of the 19th century where the British were just like, "this ain't worth it mate". There's a reason why in 1945 they gave us the keys to the world. They were like, "here, it's yours, take it, go, we're fine, no? India, go. Africa, go." Because they'd had enough. Because it's really hard, we can't even run ourselves. We literally have people storming our capital with signs saying , "government, keep your hands off my social security". If we can't handle that, do we really want to try and run, Africa? I think what we need is not so much world empire, I think we need closer cooperation, closer alliances."

"People say, "get us out of the UN, we don't need the UN", we invented the UN. This is us, we are the ones who founded the idea of nations working together, and I think that's something we need to do. And it's, it's messy, and it's really complicated, and there's going to be a lot of countries out there that expect us to clean up there mess, or just want to see us fall on (our) face. And they love that, which is what I think president Obama said brilliantly at the UN, when he basically said, "that ok". If I'm paraphrasing, I don't think he's ever said "ok" in his life, he's probably said "well". But basically he said, "look, for the last eight years you've been on our case about going it alone, you know, we're imperialists, we're hegemonic, we're going it alone, we're going it alone... Ok, we're not going it alone anymore, we're going to listen to you, but you better ante up and kick in. Because, you don't have the right to have an opinion, if you can't back it up. It's put up or shut up time". And I was so happy when he said that, and the way he handled the Latin (American) countries, when he was dealing with the crisis in Central America, the coups in Honduras. And he said, "the very same countries who accuse us of doing nothing, are also the same ones who accuse us of being imperialistic. You can't have it both ways.""

"Do you know how many times, when I was a kid, going to Europe, having a Frenchman try to get on my case about Vietnam. And that wasn't the problem, do you know what it was like to have other kids, other American students go, "yeah, it's pretty bad, in Vietnam, we should, yeah". And I'd be like, 'but, mhmm, French Indochina.' , and they'd be like, "Oh is that near Vietnam" (groans). We don't educate our young people, and then we send them out into the world, as ambassadors as lameness. So no, no world empire, I don't want to be responsible for the plumbing in Rwanda, but we do need to become as much of a student of them as they are of us. Because, here's the thing. Well, the problem with the global village, remember in the early 90's, with the term now, global village, well the problem with the global village is that a lot of people are waking up realizing that they are in the global villages ghetto. And now with media, we are broadcasting these images of our wealth, and our power, our society, and the people in the global village are looking up on the hill seeing that mansion, but we're not looking down into the slum, and we need to do that. There's just so many times you can drive slowly through the ghetto in a rich convertible before you get carjacked. So this is what I mean, we need to engage..."

"If there's four Vietcong in a village with knives and punji sticks, we'll bring in a B-52. And I think, sometimes we need to learn to fight smarter instead of to fight richer. And this is what I mean, you know, education, "oh, education's expensive;" no it's not, books are cheap, (the) internet's cheap, we can fight smarter, we can learn. So, that's where resource-to-kill-ratio comes from."

"I started watching reality shows and being horrified at people signing up to be humiliated in front of the entire country. … I saw one show, The Amazing Race, in which people were eating spicy soup and vomiting and crying. Why would you do that? Also, I was fascinated by these actors and actresses who would sign up to be followed around by cameras in their life. You become a celebrity, not because of your work or what you do, but because you have no privacy. I've been careful to keep my life separate because it's important to me to have privacy and for my life not to be a marketing device for a movie or a TV show. It's worth more than that. I'm worth more than that."

"We treat sex so casually and use it for everything but what it is — which is ultimately making another human being with thoughts and feelings and rights who will grow up to be an adult."

"There are some issues I'm more conservative on. As a parent, I'm concerned that there are so many young, young, young kids — like 12 years old — that are starting to have sex."

"No! The other thing, that God brought us together for a reason."

"I found I was really comfortable taking on a different personality. It saved me from myself, in a way."

"There are some times when I think acting can be a noble profession."

"I think the worst thing that can happen to a good actor is fame. The limelight is a tricky place, because you can't believe what's going on around you. You stop observing. You stop perceiving. You stop extending yourself, and you become isolated. Our duty as actors is to remain compassionate and curious. Fame complicates all that."

"It's just an incredible gift, giving birth. I never felt so empowered, so powerful, so womanly as I did after I gave birth. I felt more feminine than I ever had in my life."

"As an actor, you're sort of the court-appointed lawyer for the character. And that's what used to draw me to scripts – something in a woman that I wanted to defend, something that I recognized or wanted to understand, something that turned my head."

"I've gravitated towards independent cinema because you have to work harder in studio scripts to flesh out characters, particularly female ones. They are not as sharply edged, they tend to be quite watery. They are not renderings of women as I know them."

"Faith is important to me. I wanted to make sure the tone was reverent. I'm just someone who marvels at God. I grew up Catholic, but I'm very comfortable in all religions."

"My husband watched it live online and I was awakened with coffee and the good news. He's my biggest fan and he was really rooting for this to happen."

"I just wanted to study how to portray clairvoyance, and I finally took an ocular approach. She has these beautiful blue eyes and her gaze is gently penetrating. All the obvious stuff about her you can find online but I wanted more of the nitty-gritty, like how did it affect her sex life? If you're domestic ballbuster by day and a ghostbuster by night, how does that affect your home life? I opted not to go down to their museum of the occult that they maintain in the basement, Patrick and I both. We stayed upstairs."

"I have a two-year-old who just turned three, and my four-year-old just turned five. I have the same irrational feelings taking them to pre-school. It's this charged combination of stress and joy and anxiety and excitement. When they're away, you've got a sudden loss of purpose and this ever-present fear about the kid's welfare. The departure of our children from our nest is not an easy thing."

"I came back sophomore year and decided to do some shows because I did one small play senior year of high school and I had a lot of fun. I had one line, I think. I did an audition for a show; it was experimental theater and we had a great time. For my second show, I had a great role and a great time and my aunt came to see the show. I’m doing shows just to meet folks at this point, so that I could figure out what I want to do. When she saw the show, she said, “You know what? You may want to think about this as a career! You’re really good!”"

"My family was all about education, and me being there was a combination of my parents instilling in my sister and I that this was the ticket to wherever you want to go in life—education. And that’s what I tell my children: You’ve got to work now, play later. You’ve got to get to the place where when you’re a senior in high school, you’ve got choices; you’ve got to put in the work."

"I don’t think there is a secret. We definitely didn’t find it. We discovered that it’s work. But we already knew that. It was very fun to actually walk through our time together and see the timeline presented. When we started the process, we didn’t really think we had a book. But in that sense, it was fun to actually have someone to walk us through so that we didn’t have to try to put a framework to it since we didn’t know what the framework was. But from talking to [co-author Hilary Beard] together and individually, she was able to say, “This is actually a book.” We didn’t start out to write a 300-page book. We started out with something much simpler and it morphed into that. It was fun to be able to talk about our journey together, because that’s what it is, it is a journey."

"A comedian goes out and hits people right on. A clown uses pathos. He can be funny, then turn right around and reach people and touch them with what life is like."

"They're taking shortcuts to get a big laugh instead of working for their audience. They can finish a show, hang up their tux and shirt, and put it up for next time. With mine, you have to wring out the sweat and send it to the cleaners. You gotta go out and work for your audience."

"Why quit? It's the only thing I know. Quitting is like hanging up your soul on the wall and closing the door on it."

"Don't laugh but I think the logical successor to Chaplin is Skelton. Red, to my mind, is the most unaclaimed clown in the business."

"With one prop, a soft battered hat he successfully converted himself into an idiot boy, a peevish old lady, a teetering-tottering drunk, an overstuffed clubwoman, a tramp, and any other character that seemed to suit his fancy. No grotesque make-up, no funny clothes, just Red. There is no one around who can take a comic fall as magnificently as he can. He also sings, dances, delivers deceptively simple comic monologue and plays a dramatic scene about as effectively as any of the dramatic actors, Method or otherwise."

"Primarily we write the show to entertain ourselves. Sometimes I recognize a joke that reminds me of something that I would've busted up at as a kid. I'm happy when I see those kinds of jokes. Because the show is for kids more than anyone else, but most of the time we are just trying to crack ourselves up and trying not to worry about much other than that."

"If you're an aspiring show maker, and you have the means to sit around for a few months, you should be making funny cartoons and uploading them to the internet. I feel like I've discovered this secret about the entertainment industry it's that they're desperate. They're super, super desperate for new talent and constantly developing and canceling things all the time. It's the nature of the business, so if you're one of those people who can make a cartoon so funny that it gets a ton of hits on the internet then the industry is going to be all over your business."

"Dark comedies are my favorite, because I love that feeling – being happy and scared at the same time. It's my favorite way to feel – when I'm on the edge of my seat but I'm happy, that sense of conflicting emotions. And there's a lot of that in the show, I think."

"Any new property is always risky. And my show really didn’t have a strong hook to it. I couldn’t come up with a tag line for it. I just liked that it was friendly and nice, just two friends that hang out in a weird world. I think that’s what was risky. It was boring and you couldn’t see where it would go. I mean, I could. But I don’t think anyone else could see where it could go, in the beginning."

"I know people who just absolutely everyday of their life work for change. … The animal rights people. THOSE are my people. … You always hear about the Farmer in the Dell and how he loves his animals, but we’re not educated. And now it’s all coming out and people are starting to finally get educated about it. is rescuing all these animals … I mean not one animal had a good life before they got here."

"When it's going well, stand-up is the best thing in the world, but when it's not, it feels like all your toes are being pulled off one by one."

"It is impossible to maintain one's composure in this situation. What am I doing here? — especially considering the extraordinary group of women with whom I was nominated. We five women were fortunate to have the choice, not just the opportunity but the choice, to play such rich, complex female characters. And I congratulate producers like Working Title and Polygram for allowing directors to make autonomous casting decisions based on qualifications and not just market value. And I encourage writers and directors to keep these really interesting female roles coming — and while you're at it you can throw in a few for the men as well."

"We are a bunch of hooligans and anarchists but we do clean up nice. I want to thank every single person in this building. And my sister Dorothy. I love you, Dot. And I especially want to thank my clan, Joel and Pedro "McCoen." These two stalwart individuals were well-raised by their feminist mother. They value themselves, each other and those around them. I know you are proud of me and that fills me with everlasting joy. And now I want to get some perspective. If I may be so honored to have all the female nominees in every category stand with me in this room tonight, the actors — Meryl, if you do it, everybody else will, c'mon — the filmmakers, the producers, the directors, the writers, the cinematographer, the composers, the songwriters, the designers. C'mon! Okay, look around everybody. Look around, ladies and gentlemen, because we all have stories to tell and projects we need financed. Don't talk to us about it at the parties tonight. Invite us into your office in a couple days, or you can come to ours, whatever suits you best, and we'll tell you all about them. I have two words to leave with you tonight, ladies and gentlemen: "inclusion rider.""

"I just found out about this last week. There is — has always been available to all — everybody … that does a negotiation on a film, an "inclusion rider" which means that you can ask for and/or demand at least 50 percent diversity in not only the casting, but also the crew. And so, the fact that we — that I just learned that after 35 years of being in the film business … we're not going back. So the whole idea of women "trending" — no. No "trending". African Americans "trending" — no. No "trending". It changes now, and I think the inclusion rider will have something to do with that."

"I don't show up all the time. I only show up when I can and when I want to, but I was there at the Golden Globes and it's almost like there was an arc that started there. It doesn't end here. But I think publicly — as a commercial (because that's what we are, this is not a — this is not — this is not a novel — this is a TV show after all) — but I think that the message that we're getting to send to the public is that we're going to be one of the small industries that try to make a difference."

"We’re avant-garde. It doesn’t mean we have to be unhygienic."

"I was never that involved in the machine of press and publicity as an actor because I’ve always kind of worked on the margins of my profession … And then when my son was younger and it did get a little bit more intrusive, I tried to come to terms with how I was personally going to handle someone coming up to me on the street and wanting some part of my time. … Now what I do — because this is how I live — when someone approaches me and says, "Can I have your autograph," I say: "No, I’ve retired from that part of the business. I just act now." … I say: "What’s your name?" … I touch them. I look at them. I have a real exchange … I’m not an actor because I want my picture taken. I’m an actor because I want to be part of the human exchange."

"My politics are private, but many of my feminist politics cross over into my professional life. Because I portray female characters — so I have the opportunity to change the way people look at them. Even if I wasn’t consciously doing that, it would happen anyway, just because of how I present as a woman, or as a person. I present in a way that’s not stereotypical, even if I’m playing a stereotypical role. … I can’t subtract that from myself anymore. I could when I was younger. … That’s another great thing about getting older. Your life is written on your face."

"Its way overdue but at least its happening and I couldn’t be more happy —and to see all those women who had been nominated or had won standing up in the audience — it was a very smart thing for her to do."

"Frances McDormand, or Fran, as she is called in regular life, cuts a handsome figure on the street. She is 60 and sexy in the manner of women who have achieved total self-possession. She eschews makeup unless she is working, doesn’t dye her hair and despises the nips, tucks and lifts that have become routine for women of her profession. Her clothes are well made — she loves clothes — but utilitarian and comfortable. … Over the course of her 36-year career, McDormand has played women who are attractive but rarely beautiful, magnetic but thorny — and, she notes, they’re usually the supporting player in a man’s story. To this day she is best known for Marge, but Marge had much less screen time than people remember. Her slightly daffy good-heartedness serves as the foil for the murderous men who occupy most of Fargo … In the last 10 years, something shifted for McDormand: Right as she hit the age when most actresses begin disappearing for lack of roles or moving to the edges of story lines, she moved to first billing. For decades, she excelled at the work of embroidering the lives of women who aren’t deemed appealing enough to watch for two hours straight, and rather than aging into a different acting type, she has taken it upon herself to put peripheral women at the center."

"What Jim wanted to do, and it was totally his vision, was to get back to the darkness of the original Grimm’s fairy tales. He thought it was fine to scare children. He didn’t think it was healthy for children to always feel safe."

"I helped him direct the movie, but he had the vision. It was because of Jim not accepting the impossible and as a result he would work harder than anybody I’ve ever known because he was the one who led the way by working harder. None of us could say no because he always worked harder than us. When you say special, I think that really is the memory that I have, the incredible upward hill journey that we had to do every single day. It was very tough."

"I’m not involved in the slightest. I say “godspeed.” I am not involved. Nobody’s mentioned it in any way to me whatsoever. I’ll be very curious to see it."

"It seems Mr. Mark Saltzman was asked if Bert & Ernie are gay. It’s fine that he feels they are. They’re not, of course. But why that question? Does it really matter? Why the need to define people as only gay? There’s much more to a human being than just straightness or gayness."

"What I don't like is describing Jim as that he was this wonderful, warm, sweet man because, yes he was a wonderful, warm, sweet man – but he was also the strongest man I ever met in character. He was very tough. He worked like a sonofabitch. He could get cranky and he got snarky at times. He would rarely get angry. I've seen him angry only about three times in my life. He was a very complex guy, but he was that noble spirit."

"Jim didn't have a script – he didn't work that normal way. He wanted to have a laboratory of textures and designs and ideas and rehearsals. He had a story – but he wanted the script to work in conjunction with the laboratory of creating the characters."

"This is Jim – he said, "Would you direct Dark Crystal with me?" and I said, "Why? I don't know how to direct. You could do it yourself. Why would you want me to direct with you?" He said, "Because it would be better." And that's all that mattered. He didn't care about the credit. He knew that he had some weaknesses and he felt that I had some strengths, and so we worked together that way."

"It was not smooth at all, and it was because of me, not because of Jim. Jim should have ****in' fired me several times. Jim was extraordinarily patient. I was a young guy who wanted to make his mark in the world, and if I was the co-director, by God why wasn't I attending more meetings and why didn't I get more say in things? I had a problem of self-esteem and it came through that way. It was difficult for Jim, not for me. It was frustrating for me, but that was an unhealthy frustration. It worked because Jim was patient."

"My brother was like, We're going to have to change the locks and put bars on the windows! But I thought about it for a minute and I thought, Here's a role I could look back on and say, Man, I played a vampire. In, like, Twilight. I mean, how many people get to do that?"

"Everything has become so easy. It's great that it's at your fingertips, but I miss those good old days. And we're connected, but it can be very alienating. There is this distance between all of us because we're speaking to each other through cameras and monitors and icons and Emojis."

"I really wanted Elliot's clothes to feel like it was a bit of an urban combat uniform. We needed the wardrobe to reflect his desire to disappear from the world. So I suggested a hoodie. Well, maybe I shouldn't say 'suggest.'"

"Please tell me you're seeing this, too."

"It's sad! Some really tragic moments have happened in my life and I found myself not getting emotional. Subconsciously, I was saving the grief so that, down the line, I could layer pain on top of pain. Because I want to feel that throughout my life. I want it to be easily accessible."

"Someone took a selfie with me today on the street, and to see them plug in their passcode right in front of you — it’s not something I would ever do, and it’s borderline creepy, but my show just makes me so much more aware of how to conduct oneself in public. It’s little things we take for granted, like holding your passport out while you wait in line at an airport, and someone can screenshot that in a heartbeat. The amount of information that we arbitrarily extend to the world is very mind-boggling to me. It’s like we’re saying, “Go ahead,” Clint Eastwood-style, “make my day.”"

"I know Elliot does not come across as charismatic, but to me he is."

"One word: Mischief."

"I could use my imagination and I read a lot about mental health. And that puts you in the perspective of just how difficult it is to live in a mind that that doesn't always feel like your own and how…I mean, just, that's brutal in its own way. And that can be a very lonely, difficult place, and a very difficult frame of mind to articulate to anyone, to even want to share with anyone."

"Malek has about three facial expressions in his arsenal, so his eyes do a lot of the work on Mr. Robot."

"People have often asked me, "If you weren’t in show business, what would you be doing?" The truth is, I don’t think there’s anything else I could be doing, so the answer would have to be, nothing. Then again, there's nothing I love more than making people laugh, so I guess you could say I’m in the only business I could be in. I was born to enjoy life and I've always wanted everyone to enjoy it along with me. That's why I can't see myself any place other than standing in front of an audience with one purpose in mind — to make people feel little bit happier than when they came in."

"We're not in the 1980s anymore to remember how terrified everybody was, how paranoid everybody was about the end of the world being nigh. In the year that I had prepped this movie in 1983, the Korean airliner was shot down by the Russians, Reagan gave his "Evil Empire" speech, Strategic Defense Initiative, "Star Wars" started and people like Herman Kahn in the RAND Corporation in Santa Monica [...] were talking about "winnable" nuclear war and game theory, and I just thought "people who talk like that, and people who behave like that, politically, and make speeches like that, they're doing that because they have no real sense, no physical sense of what a nuclear war would be like.""

"I remember a scientist who worked on the Manhattan Project said to me "you know, when I hear people talking about winnable nuclear wars, I just wish I could take them to the Mojave desert, the Nevada desert, wherever, strip them down to their underwear, and let them watch an actual nuclear explosion from miles away, feel the blistering heat pulse on their skin, and feel the blast wave sweep over them and shake their heart and their lungs around inside their rib cage. Then they would have a sense of what it was they were talking about and they wouldn't talk about a winnable nuclear war.""

"In this movie, from the outset, I wanted to put it in the scale of people that you might know, people like yourself, your immediate family, relations and so on, and no bigger than that, and not really to show anything except how it would happen to them. So, there's no God's eye view in this movie. You don't actually get to look down and get the overall picture and see maps of Europe and maps of the world and so on. You just get what's happening to these people, and it's all really done from ground level. There's no cinematic crane shots or anything like that. It's just very, very documentary."

"The real effect of a nuclear weapon is not what it does to things, to buildings, to cities: it's what it does to society, what it does to people, what it does psychologically. I was very struck by the work that an American writer called Robert Jay Lifton had done on the psychological effects of the bombings of Nagasaki and Hiroshima on the survivors and I talked to him a lot. It seemed to me that the story that needed to be told was the story of what this does to society as well as what it does to physical things, and you could only really tell that with a drama, with people that you identified with."

"I can't tell you how much that affected me, in the wrong way. I was, in 1983 when it came out, I was planning Threads, I was in pre-production. And I thought "Oh my God, they will tell it. [...] I hope to God they tell it well. If they tell it well, I'm going to stop what I'm doing". [...] I didn't want it to become something that everybody did. I wanted it to be one thing that was done once and done well, and done with no punches pulled at all. I wanted something you could hardly bear to look at and you can hardly bear to look away from , so something that was totally uncompromising: You didn't look away, you didn't flinch from things. So, I waited for The Day After to come out, [...] I looked at it and I thought "Oh my God, they didn't, they missed it". They missed it! They made a TV movie, they made something like a soap opera because they had to, because they didn't have a genre in their head that they could copy and or invent. And I thought the underlying thought of this is it would all be manageable. At the end of the movie, where everything is ruined, you've got Jason Robards still there and you know that just out of the frame, about to come in, there's all the bulldosers and relief efforts, rescue and help, and it's going to be okay really. And I thought "That's not telling the truth, that's not really the way it would be.""

"There's the hospital sequence in The Day After and there's the hospital sequence in Threads. [...] In The Day After people are being wheeled in on gurneys and everybody's stressed, but they're coping with it as they would do on ER or something like that. In Threads, the floor is covered with muck and shit and blood and people don't have anything they can work with. [...] We see people having their legs amputated without an anesthetic, just something stuck between their teeth for them to bite on. That's what it's going to be like! And I wanted every part of this movie to be "That's what it's going to be like"."

"I wanted him to use all his experience and intuition and empathy with people who'd grown up around him in Sheffield and put that into the movie, and I would be [...] the alien force, who was the voice of what science can do, and I would kind of foist these horrible indignities and horrors on these people, and he would try and get them to behave the way they would. So there was an innate conflict in that. We had many shouting matches, really passionate things, totally necessary for doing this."

"He hated coming on the set and despised me because I wore white shoes."

"He did hate doing it. It was alien to his nature. He reluctantly let himself be drawn into this thing, thinking what he would have done would have been a very passionate politicised scream of emotion, and what he was being pushed into was this box he didn't feel at all comfortable in."

"From the point where the bomb happens, the whole nature of the movie changes. In the first half of the movie, I hope, you have a very full soundtrack. You have all the soundtrack of TV broadcasts and radio broadcasts, the sound of birdsong in the country, the sound of musical things happening, the sound of traffic and city noises. And from the moment that the bomb drops you don't have anything. You don't even have the teletype, all these things, they just type out in silence, and all you hear is wind. [...] You hear voices of people screaming, coughing or whatever. You hear wind, you hear no birds. [...] It's gone. That world is gone."

"This sense of things...getting out of control very quickly is a lesson that we’ve forgotten. [...] I hope we don’t learn it in the wrong way. This is what you’re risking when you talk about fire and fury."

"That period had seen Reagan starting the Strategic Defense Initiative, the downing of the Korean Airliner by the Soviets, and [Reagan] calling the Soviet Union the Evil Empire. [...] It was perhaps the most dangerous time for the world since the Cuban missile crisis and...there was this feeling that BBC wasn’t dealing with this in any way. Everyone was very paranoid. The world was on the brink of nuclear war and no one knew anything about it."

"It is unthinkable for most people. Nuclear war is so outside your everyday experience it’s hard to get your mind around it. And if you can’t get your mind around it, you can’t talk about it and have a meaningful debate."

"The idea was to take a movie which was about death...and use the iconography of life to tell the story."

"What worries me at the moment is President Trump and many in his administration are using the same kind of language about winnable [nuclear war and] bloody-nose strike against North Korea without realizing the consequences of that. [...] They have a failure of imagination. They can not believe that it could be anything other than surgical. The lesson of everything in nuclear policy through the Cold War is that we’ve come so close to so many times to stumbling into war by miscalculation, by not knowing what the other side is thinking."

"Barry came up with the idea of the two families – one working class, the other lower-middle – and what their lives were like. Sheffield seemed a good place to set it, and Barry knew it well. It was bang in the middle of the country, and a good way from London. Strategically, it also made sense: there were industrial and military targets nearby. Both of us were interested in the idea that none of these characters would ever have a god’s-eye-view of events, and never find out what was happening outside their immediate experience, certainly not outside Sheffield. That seemed to be the way most people would have to deal with a nuclear apocalypse, with most forms of communication vaporised."

"What we’d depicted and its implications stayed in the minds of every actor and crew member for a long time. I’m sure there were some nightmares. There are some things so far outside our experience or comprehension that they are unthinkable. Nuclear war is one."

"People tell me how relevant they find the movie to what’s happening now. It’s comforting, at a time when so many films are being remade, to find that people still appreciate – and are scared by – the original film."

"Q: Silly question. What do you think will take to kill the Hulk?"

"I love CGI, but we’re not using CGI in this one. [...] Puppets, man. Puppets!"

"We need to serve the fans. But also, we need to create new fans. Kids these days haven't seen puppets. They've seen fuzzy puppets. They haven't seen puppets that look like this. This is quite different. It's quite scary. There's a lot of action, a lot of drama, a few deaths. So, a lot of that stuff, it's multi-generational, but it definitely brings in everything you know about The Dark Crystal."

"The Dark Crystal is a movie I saw a little too young, it shocked me a little bit and never left my mind."

"This weird UFO of a movie that didn't belong in the Eighties. It was ahead of its time and a little bit obsolete at the same time because it was done with puppets."

"[T]here was a whole bunch of elaborated ideas from Jim Henson and Frank Oz, the story that led to the movie, and that stuff was so interesting to me that eventually I was like, you know what? I'd like to take a look at what happened before the movie. It's such a big canvas that it might not even be a movie, it might be a series."

"My challenge was working with puppets, but their challenge was working with Louis Leterrier. I was non-compromising, "this will not look like your grandfather's puppet show, and this will look like The Dark Crystal, that broke the mould then, so let's break it again and bring puppetry as far as it can get", and that's really what we did."

"In every scene at least I want to do something that has never been done with a puppet. I was coming up with some ideas and concepts, doodles for how the puppets could do these things. I want to see a puppet swim, I want to see a puppet crashing through water, I want to see it run, I want to see it jump."

"We just enhance the eyes, a quiver of the mouth, the eyes fluttering a little bit, glossing over. But it's still the glass eye of the puppet, it's still the skin of the puppet, we move it just slightly, and that made a huge difference. The limits I set were that it cannot be better than what you could do with an amazing animatronic puppet with lots of motors and stuff."

"We're so pleased that that is pure puppetry. If you take the puppeteers out, they're still being moved by the puppeteers. We'll have a very simple scene of a character that's doing a normal gesture, and that's many puppeteers to accomplish that."

"We took that as our jumping off point for the whole series. What was that culture? What was lost? What was that beautiful Gelfling civilization?"

"What’s gonna happen to us, you know centuries from now? We don’t know. We just kind of have to live our daily lives and win the daily battle. We think this is a really hopeful and inspiring story about heroes who, when faced with a really scary and mysterious threat—which is what the Skeksis are doing to them and threatening their very life essence—you know, they manage to pull together and fight as a team. You kind of don’t expect gelfling—if you know the original film—you don’t expect gelfling to have that kind of gumption. You don’t even know that they have a fight in them, but they do. And we learn that they do in the series."

"I think people, whether they are studied in puppetry or not, are going to love the artistic tapestry that’s up there. Some of the tiniest details in The Dark Crystal like when the Chamberlain’s eyelid starts to twitch, just make it feel so much more real, so much more alive."

"For me, watching his performances of Aughra and the Chamberlain is incredible and I'm so moved by how he infused life into those characters. That's pure talent to really take an inanimate object and give it life so believably. It's still the core asset of this film."

"We kind of look at it as the Henson Company's little Star Wars or Lord Of The Rings franchise. It truly has the ability to be explored in different geographical parts of that world, or different time periods of that world, and it's been so fun to expand the canon of The Dark Crystal. Now that we've got the ball rolling on that, it feels like that could continue indefinitely."

"[I]t's basically the screenplay adaptation so that is the sequel to The Dark Crystal. We thought, 'Why should we let this story that we thought up not get seen by the public?' We just went a different way with it."

"People talk about how look and feel of The Dark Crystal is so much more real than CGI but they also had no choice because there was no computer animation when The Dark Crystal was made. There were some optical effects, there were some composites that were hand done in the lab but there were no computer effects."

"The prep period for The Dark Crystal was really long, it was literally years because they had the world and the creatures developed before they ever had a firm storyline. The script for The Dark Crystal actually fell in place later than anything else and some of it was only during post-production."

"They just couldn't get their head around the idea that the person who was doing The Muppet Show and The Muppet Movie, things that were so light and joyful, that he himself would want to deviate from what he had been doing. It was really surprising to people and they expressed a lot of doubt about it. Then, the film did pretty well commercially and it also did very well internationally. This story has so many universal qualities such as good and evil, the characters are not American and they're not from any place in particular and so it worked around the world."

"We’re in a time when film is so loud and the audience is looking for shocking. It’s hard to convince people that there is an audience out there that wants quiet stories."

"I didn’t think that I was powerless…But I didn’t think that I was powerful."

"It was a gift to have something else that I was passionate about, because at the end of the day, it comes down to the work and the art."

"I would say that I’ve tried to listen to the voice inside…Luckily, from a very early age, I was able to understand that when things don’t feel quite right, that was probably not the role for me."

"I truly enjoy working with other composers. You can learn a lot from each other and it's always amazing to see what the other composer comes up with."

"When I write I always have the picture running in the background so as I do my arrangements in a scene, I have to go back over and over again. And I play every single instrument during my demo, so that’s a very time-consuming process. And while I do that I see it over and over and over. I get new ideas as I’m doing it and you really get attached to a scene, so I always have the picture on when I write to a scene, so that’s why I see it so many times."

"I’m one of those artists who, if you’d let me tweak, would probably keep going and going so it comes to the point where sometimes you just have to let go and make the decision, “Okay, that’s it.” That’s always hard, because you always have new ideas and sometimes they might even be changes that aren’t even audible to anybody else but it just might be an arrangement within the piece or an instrument that I’d like to take out, or change the octave or things like that. I like to tweak, so sometimes, yeah, it’s a good thing to have a deadline. You have to deliver and that’s it."

"When I walk down the street and people say, 'I knew what to do because of watching your show (Law & Order: Special Victims Unit). I knew not to shower. I reported immediately. I took myself to the hospital instead of saying forget it, forget this ever happened, That's what I'm most proud of."

"I was there for three weeks before I shot a single thing. And that first day of shooting... I was so nervous, man. Everyone was sort of going "Who's this guy?" You know, there was a lot of that, and... You know, "Is he gonna deliver?", and that-- You can feel all that kinda pressure."

"It's always the suit's fault. Never the actor."

"I think every male at some point thinks about playing James Bond so it was not right then, but it may be right if it comes back. I think you've got to be scared as an actor and keep taking risks. It doesn't always work out but it's a healthy place to be."

"This is pretty much one of those roles that had me pinching myself all the way through the shoot. I got to shoot a big-budget, shamelessly old-fashioned romantic epic set against one of the most turbulent times in my native country's history, while, at the same time, celebrating that country's natural beauty, its people, its cultures... I'll die a happy man knowing I've got this film on my CV."

"Nothing has ever opened my eyes like transcendental meditation has. It makes me calm and happy, and, well, it gives me some peace and quiet in what’s a pretty chaotic life!"

"The Broadway thing is full-on—we were nine months in, six days a week. When you get a week off, there’s something so miraculous about it and freeing. I was sitting on a beach, not a care in the world, and for some reason, the thought came into my head: What do you want to do? And the first two things had nothing to do with work—then literally, I thought: Deadpool-Wolverine. I want to do that movie. That’s what I want."

"You try to be a model of kindness and love and forgiveness to all those around you, because you have received kindness and love and forgiveness from God through Christ. That's what Christianity is. You don't see that too much. Sometimes that has been the fault of the Christian community, or the ignorance of the secular community."

"There’s a misconception that romance you had when first married is supposed to be there all the time, or that’s a sign the marriage is over or that you no longer love each other. When things get tough, you have to be able to withstand the pressure. I’m a big proponent of marriage counseling. You have to know yourself and how you respond to things, and that’s where therapy really helps. If you can’t afford therapy, there are plenty of excellent books that tell you many of the same things."

"The beauty of being a Catholic is, this is not the last time I will ever see my mother, we will be together again, there’s just this period where she’s not here, and so it’s not the most desperate feeling. It’s pretty bad, but it’s not the worst."

"Film music is always and only accompaniment. Whether it’s loud or occasionally important in itself, it’s what it is because of where it is — how it’s placed in the film. In a film score, the composer literally measures every note, because it has to be synchronized with the picture. The film strictly determines every element of a film score. The only reason music exists in film is to help tell a story. No one hires a composer for a film to write pretty flute lines. I generally don’t get concerned about this, but I’ll admit to getting irritated or disappointed at times on how the music is used after I’ve composed it. In the United States, all film composers work under a condition called ‘Work for Hire’. Aesthetically, it can be soul-sucking."

"Being a composer, although I think it’s an incredible job, it’s not special. There are a lot of people who are composers. There are a lot of people who think they’re composers. There are a lot of people who are songwriters. There are a lot of people who have a musical idea. There are more now probably than there were when I began. There’s more opportunity, I think, for composers than there was back then, but there are many more composers now. So, you’re not special. You’ve got to find some way of getting hired. And I think the more you can refine your objectives, the better you are. The best advice I got about this when I was just starting was, “Ignore all of my advice and do anything you can think of”. And as I said, just get started. Just start."

"There is going to be an inescapable tension between – and I’m going to call them the oligarchy; the establishment, the monied classes, the one percent – and the rest of us and the rest of humanity. And without some strong institution like the medieval church, to intervene, people are just going to go out for themselves. And there were some economic theorists who believe that’s the best thing for society, and they cling to that."

"There seems to be a prejudice against television directors. Now there are a lot of bad television directors. If you do the same sort of television for a long enough time, something happens to your imagination. That's why I won't even consider certain television shows anymore. The people I like to work with are the ones who have some sort of vision about what they're doing."

"I’m nothing like my character. Oh no!"

"…It’s an interesting story. I think that people are gonna love [it]."

"I always felt pressure as a child to perform, but again that came from the people who were managing my career. There was no such thing as halfway, I had to do it to the hilt."

"I’ve had trouble sleeping for a good part of my life, And what I would always do is start at the very beginning of ‘The Miracle Worker’ and say all of the lines, all the way through."

"You know sometimes when you act, you work through some things as if you would in a therapy session."

"Whatever this thing is that takes over you, that says that you are worthless, that really the only answer is to kill yourself, is so much more powerful that that's... the calling you relate to."

"That’s not the way it’s supposed to be. But then, things often don’t turn out the way you plan."

"All that hitting out and pulling and tugging every performance for two years was probably a kind of therapy for me, a release. Otherwise, who knows what would have happened to me if I adjust had to hold it all in."

"I wrote the book not to have a catharsis, because I was under the impression that I already have had many catharses as one could have."

"There was so much suffering, She really, really suffered in a way that — we were desperate to help relieve her suffering, and so it's just a blessing that she's not suffering anymore."

"I think maybe the most important part of her legacy is her acting. Above and beyond anything, the reason any of the other stuff is possible in terms of the scope of the impact that she was able to have with people was her talent and her work and her work ethic, her discipline. She worked extremely hard."

"She’s much more together and mature. She’s raised two kids and five stepchildren, and she’s a grandmother. I can’t get over that."

"Learn to love yourself and all that other stuff will not matter."

"You can do anything as long as you don't stop believing. When it is meant to be, it will be. You just have to follow your heart."

"I think you can do anything you put your mind to. I think your mind is the worst thing you can use as a reason to not do something."

"Anytime you see Beyonce, Jay Z, Kanye West. Anytime a young black person's doing good, that's motivation for everybody else. Anytime, anytime, it's motivation. Use that fuel to push you forward. That's what I did"

"God is so good. Always follow your dreams, own your purpose! Embrace God’s anointing."

"You decide what beautiful means to you. We don’t all need to look the same. Beauty is in the eye of the beholder, you decide what’s beautiful in the world. Not the other way around."

"It's unfortunate that the "hustle hard" thing can be toxic, too, to our lives. It's OK to grind, but don't grind your wheels off, pooh. Work hard, but work smart. Be able to leave a space for you to still enjoy it to where you're not looking at the end and resenting something you care about."

"We need to stop separating ourselves by how dark or how light we are."

"A great example of colorism is to believe I can be compared to anyone,"

"Follow your heart’s truth with no need for personal gain other than the feeling produced when doing what you truly love."

"Often, kids don’t appreciate the choices available, as if it’s either the street or nothing."

"Everything happens for a reason, and everything is going to turn out the way it should."

"For an era when women were expected to conform, these women are totally in charge of the show. To read a piece of material from a period drama told from the woman’s perspective is just so unique."

"I went through this period where I was just obsessed with makeup and I wore a ton of it, and then I suddenly realized how much I was wearing, and the fact that I was spending all this money. I think now I'm just trying to be more comfortable with what I have rather than having to cover up. But I do love putting makeup on for a night out."

"It was really shocking; it was the first time I had ever been dragged into something like that. And it wasn't just me, it was my family. I had seen the absurdity of what I was being accused of, and what my partner was being accused of. I decided for my own health that I was not going to try and convince these people otherwise. I just wasn't going to do it."

"I love to work. I passionately love to work. I love to feel my hand fit into the glove of some other character. I find a huge freedom — time stops for me. I’m not as crazy as I used to be, but I’m still a little crazy."

"[Asked if he was conscious of being an unusual actor] Well, I was always cast as an artistic homicidal maniac. But at least I was artistic!"

"We had a housekeeper in Canada, a wonderful woman, whose father raped all of his daughters. She went to see him when he was dying and said, "I'm here to forgive you." He said, "Forgiveness for what? It was my right.""

"I heard a voice saying hello and I looked down. Standing down there was a very small Kate Bush. … She wanted to explain what her video was about. I let her in. She sat down, said some stuff. All I heard was "Wilhelm Reich". I’d taken an underground copy of his The Mass Psychology of Fascism with me when I went to film Bertolucci’s Novecento in Parma. Reich’s work informed the psychological foundations of Attila Mellanchini, the character Bernardo had cast me to play. Everything about Reich echoed through me. He was there then and now he was here. Sitting across from me in the person of the very eloquent Kate Bush. Synchronicity. Perfect. She talked some more. I said OK and we made Cloudbusting. She’s wonderful, Kate Bush. Wonderful. I love that I did it."

"I’m really hoping that in some movie I’m doing, I die — but I die, me, Donald — and they’re able to use my funeral and the coffin … That would be absolutely ideal. I would love that."

"I wanted it to be a piece of film rather than a video promotional clip. I wanted it to be a short piece of film that would hopefully do justice to the original book and let people understand the story that couldn’t really be explained in the song. So we wanted a great actor — we thought of Donald Sutherland — and he was so encouraging and made it so easy for me. Whenever we were acting, he was my father. I just had to react to him like a child. He made it very easy."

"Donald was a brilliant actor and a complex man who shared quite a few adventures with me, such as the FTA Show, an anti-Vietnam war tour that performed for 60,000 active duty soldiers, sailors, and marines in Hawaii, Okinawa, the Philippines, and Japan in 1971. I am heartbroken."

"Donald Sutherland was one of the smartest actors I ever worked with. He had a wonderful enquiring brain, and a great knowledge on a wide variety of subjects. He combined this great intelligence with a deep sensitivity, and with a seriousness about his profession as an actor. This all made him into the legend of film that he became."

"I personally think one of the most important actors in the history of film. Never daunted by a role, good, bad or ugly. He loved what he did and did what he loved, and one can never ask for more than that. A life well lived."

"We’ve lost one of the greats. Donald Sutherland brought a level of brilliance to his craft few could match. A remarkable, legendary actor — and a great Canadian."

"[Imagining a telephone conversation between an advertising executive and Abraham Lincoln just before his Gettysburg Address] Hi Abe, sweetheart. How are you, kid? How's Gettysburg? ... Sort of a drag, heh? Well, Abe you know them small Pennsylvania towns, you seen one you seen 'em all. ... Listen Abe, I go the note. What's the problem? ... You're thinking of shaving it off? Abe, don't you see that's part of the image with the shawl and the stovepipe hat and the string tie? ... You don't have the shawl. Where's the shawl? ... You left it in Washington. What are you wearing, Abe? ... A sort of cardigan? Abe, don't you see that doesn't fit with the string tie and the beard> Abe, would you leave the beard on and get the shawl."

"Abe, you got the speech. ... Abe, you haven't changed the speech have you? ... Oh, Abe. What did you ya change the speech for? ... A couple of minor changes? ... I'll bet. All right, what are they? ... You what? You typed it! Abe, how many times have we told you — on the backs of envelopes. ... I understand it’s harder to read that way, but it looks like you wrote it on the train coming down."

"Humor is a very, very important part of our life. It's not just laughing at a joke, it's an attitude toward life. And as the world gets crazier, it's more important to laugh at it. It's a survival technique."

"My father [Yahya Abdul-Mateen] prayed for his parents every day and took them along the journey with them"

"I can only hope to do the same, and one way I can do that is by holding on to the second [in my name], because that means you have to acknowledge the first too: my father"

"My name is not the name you’d pick out of a hat – Yahya Abdul-Mateen the second is no John Wayne, it’s not traditionally the guy at the top of the billing. And that’s why it’s so inspiring to people. I get messages all the time saying, ‘Thank you brother for representing for us Muslims. I was thinking about changing my name, but now that I see you, I’ll never change it"

"For a lot of aspiring actors and artists around the world, America is the destination, the comparison"

"So to have my name at the top of the billing on my own for Candyman, right up there on Aquaman, and next to Keanu Reeves in a big production like The Matrix is huge. To be validated, to hold my own, and to go on talk shows where they say my entire name, that’s inspiring"

"I remembered that acting thing I had a really fun time with when I took the class and I said ‘Okay, I’m going to go try that for a little bit"

"I’m so thankful every day"

"I got off to a really fast start ... I kind of just skyrocketed out of graduate school"

"It's 1:00 a.m., and I'm trying to get her to be quiet, but she's still screaming, so I just stopped and let her walk"

"I knew there was no rationalizing with this person. Two minutes later, I walked up to the studio and sat down at a computer. I saw her across the room, but she wouldn’t make eye contact"

"I went back to my computer to work, and I remember being so angry that I cried"

"It was frustrating. I deserved to be there. Period. That was my reminder that even if I did everything right -- played the game by the book -- some things in life would be unavoidable. Because I was Black. I was 18 years old. I did the only thing I knew to do. I cried, and I swallowed that s**t"

"With my therapist, I wanted to be able to talk about being Black. I wanted to be able to use my vernacular," he said. "I didn't want to have to explain what it felt like to have someone follow me around the store. I just wanted to talk about the fact that it happened and have that person understand"

"Black men—Black people in general—don’t have a reason to trust America. History will tell you that, at the end of the day, we’re going to be the first ones to be manipulated and systematically taken advantage of"

"There’s a stigma around mental health in the Black community, particularly with men, that means we don’t talk about how we’re feeling, and it was strange to be around Black people who openly discussed seeing a therapist"

"There was this collective curiosity that I didn’t even know was there. Historic disenfranchisement kept those resources out of reach to the point that many believed that our rejection of therapy was primarily cultural. I’m glad to see this narrative changing. We’ve got a lot of internal healing to do in this world, and therapy is going to be a big part of that. With the right relationship, therapy can be a safe space where we can be heard and seen in a world that too often chooses not to hear or see us"

"We need people like myself with a platform to continue to speak out and to be standing and doing the right thing. And so sometimes I question whether or not I’m doing the right thing by being away from America right now. I donate my money, my time. I use my platform to amplify others’ voices, and sometimes that feels like it isn’t enough. I want to be on the ground. The people I love, my family, my close friends, the Black women in my life—they tell me to be kind to myself, to stay informed, and to stay ready. So that’s what I try to do for now"

"Black Family, don’t feel guilty for laughing and feeling joy today. We need that too"

"Everything should be about getting to the truth. But sometimes you got to know which movie or genre you’re in,"

"That world is enormous. And I joined that world way into that run; a train that was already moving. Normally, I come in way early on and I get to figure it out…I was freaking out. It was a scene with [Samuel L.] Jackson, Tom [Holland]…there were a number of actors in that scene. And I remember not being able to remember my lines. I was the wooden board. And they were like, ‘Whoa"

"I didn’t want to show up like, ‘I have a confession,’ so I taught myself"

"[Watchmen] was also a story about a god who came down to earth to reciprocate to a Black woman all the love that she deserved"

"He'd offer her sacrifice and support, passion [and] protection. And he did all that in the body of a Black man. I'm so proud that I was able to walk into those shoes"

"So I dedicate this award to all the Black women in my life"

"The people who believed in me first — I call you my early investors. I love you. I appreciate you. And this one is for you. Thank you"

"It's important to listen to Black women because they got the answers"

"There was such a wide variety of subject matter that it kept me on the hook. That was something that I could call my friends and family and talk about. I feel like television and film were very important over quarantine; for me, that became a way to connect to other people. And instead of talking about sports or talking about whatever event was going on, or where we were going—the variety of things that can happen in a day—my conversations, a lot of the time, switched to television"

"I saw a lot of people validate the history of trauma in this country, and the ways in which a traumatic event can happen to someone in one generation, and two generations later you see their offspring or their grandchildren still dealing with that. To me, that idea is very important to legitimize because we live in a society, in America specifically, that is so much in a rush to move past all the dark parts of its history. There’s so much of a rush to just put that behind us, that it often causes us to ignore, to not deal with it. And it causes us to not be able to realize the way that we still perpetuate it and create an environment for that trauma to continue to exist and persist"

"There’s a lot of work out there, which makes for a wide variety of creativity and conversation. And most of all, employment, for a lot of really, really good actors"

"I woke up two months ago and said “Whoa, whoa whoa! I’m an actor, how"

"A few months ago I was still in school and no one knew who I was and now I’m on a show and my publicist is calling me! It’s so exciting. I’m just taking things day by day."

"I’m the youngest of six kids and I grew up with a lot of noise, a lot of music and a lot of laughter"

"My father was Muslim and my mom is Christian, and we moved from New Orleans to Oakland, so I always had this appreciation for different cultures. Between those dichotomies and with eight people living in the house together, there was always drama. But it was enjoyable drama"

"I think it would be irresponsible of me to not be aware of the climate [in Hollywood] when it comes to the conversation about diversity"

"But I like to consider myself an actor, and one of the assets that I have is that I’m black. And that I’m 6’3″! I just want to do work that gets people excited and makes them feel things, no matter their economic or racial background"

"We live in a world of IP, where the safest thing to do is reboot something that has an audience. I wanted to prove to myself I wasn’t a one-trick pony. It’s harder than it’s ever been to get something made that’s not based on a previous movie or comic book or video game. Every generation deserves its own stories, instead of just the stories of their grandparents."

"I don’t try to be a hard guy to work with … but I decide what I’m going to do with a character. I will take direction, but only if it kind of supplements what I want to do. If I have instincts that I feel are right, I don’t want anybody to tamper with them. I don’t like tamperers, and I don’t like hoverers."

"It was as if somehow Al Capone had become head of the United States."

"The Western is our genre in the United States of America. The English have Shakespeare, the French have Molière, the Russians have Chekhov, but we have the Western."

"Sometimes what comes around the corner is better for you than what you're planning to do anyway."

"To the world, he was an Academy Award-winning actor, a director, a storyteller. To me, he was simply everything. His passion for his craft was matched only by his deep love for characters, a great meal, and holding court. For each of his many roles, Bob gave everything to his characters and to the truth of the human spirit they represented. In doing so, he leaves something lasting and unforgettable to us all."