Actors From New York City

"He's the greatest pitcher I ever saw. I can still see that big curveball. It had a great arc on it, and he never bounced it in the dirt. Sandy's curve had a lot more spin than anybody else's -- it spun like a fastball coming out of his hand -- and he had the fastball of a pure strikeout pitcher. It jumped up at the end. The batter would swing half a foot under it. Most of the time we knew what was coming, because he held his hands closer to his head when he threw a curveball, but it didn't matter. Even though he was tipping off his pitches, you still couldn't hit him."

"The Dodgers had us back for Jackie Robinson Day, and before the game started, we're up in the press box, and Rachel Robinson is there, and Jackie's son and daughter. The Dodgers were playing the Reds, and Sandy Koufax walks up and says "Jerry, this is amazing. There's not one player on the Dodgers that is African-American." He said that it was sad that we're up there celebrating Jackie Robinson, but not much has changed."

"If I could straighten it out, I'd be pitching at Dodger Stadium tonight instead of playing golf."

"Mays always told me how hard it was to get a hit off me and every time I looked up, he was on second base. Yet, even with Mays, I had an idea what to do. When I pitched to Clemente and Aaron, I had no idea. They seemed to hit everything."

"The only time I really try for a strikeout is when I'm in a jam. If the bases are loaded with none out, for example, then I'll go for a strikeout. But most of the time I try to throw to spots. I try to get them to pop up or ground out. On a strikeout I might have to throw five or six pitches, sometimes more if there are foul-offs. That tires me. So I just try to get outs. That's what counts — outs. You win with outs, not strikeouts."

"I don't regret one minute of the twelve years I've spent in baseball, but I could regret one season too many. [...] I've got a lot of years to live after baseball and I would like to live them with complete use of my body."

"Maury had been made captain in the first week of spring training, a title which usually entitles its bearer to carry the lineup card to the umpires and draw an extra $500 on his salary. Maury took it seriously, and his leadership had a strong, cohesive effect. [...] Maury has become a dominant figure in our locker room. He has come to believe that there is nothing he cannot do if he sets his mind to it. There is something almost mystical in his belief in himself, especially when you remember that he came to us after nine full years in the minors with all the uncertainties of the fringe player hoping to hold on."

"I don’t know if cortisone is good for you or not. But to take a shot every other ball game is more than I wanted to do and to walk around with a constant upset stomach because of the pills and to be high half the time during a ball game because you’re taking painkillers … I don’t want to have to do that [...] I don't regret one minute of the last 12 years but I think I would regret the one year that was too many."

"Last year wasn't Seaver's kind of year, but he's still an impressive pitcher, still strong. Like McLain, Marichal and Gibson, he has the good stuff and control. I mean he can make an excellent fastball or curve and throw it in good spots. A guy who throws what he intends to throw—that's the definition of a good pitcher."

"In 1960 I had made the transition from thrower to pitcher and had not understood that in making the transition I had made a beginning, not an end. you become a pitcher before you become a good pitcher. [...] Nor do I wish to testify under oath that I have not forgotten, do not—and will not—forget from time to time and revert to the wayward ways of my youth. It's usually when I'm tired or mad, but dumbness is not to be completely discounted either. In the 1965 All-Star Game I was terribly wild. I came into the game in the sixth inning and immediately threw seven straight balls. Although I got out of the inning, it was a struggle with every batter. [...] There was not a thing wrong with my arm. My arm was fine. My head was something else again. Knowing that I was only going to pitch an inning or two, I had thought, "Well, hell, I'll just go in and throw as hard as I can." And there I was, right back where I'd been ten years ago, wild high."

"But in the end it all comes down to talent. You can talk all you want about intangibles, I just don't know what that means. Talent makes winners, not intangibles. Can nice guys win? Sure, nice guys can win — if they're nice guys with a lot of talent. Nice guys with a little talent finish fourth, and nice guys with no talent finish last."

"Roberto Clemente hit an outside fastball that was still rising when it hit against the light tower in left center field, 450 feet away from home plate. And on a 1-2 pitch at that. But there is no such thing as a good pitch to Clemente. Ask me how to pitch to Clemente, and I will tell you with complete confidence, "How do I know?" Roberto can hit any pitch, anywhere, at any time. He'll hit pitchouts, he'll hit brush-back pitches. He'll hit high, inside pitches deep to the opposite field, which would be ridiculous even if he didn't do it with both feet off the ground."

"There were now men on first and second. The batter was Henry Aaron. I walked him on four straight balls, which was probably the smartest thing I did all year. There have been many times since when I wished I had been wild enough to walk Henry Aaron. I'm usually backing up third as I am wishing it."

"I know I was faster 10 years ago. I think Jim Maloney, Bob Veale, Bob Gibson and perhaps one or two others throw faster. In my best days I don't think I threw faster than Ryne Duren. He was the fastest I ever saw."

"It was probably the worst thing that could have happened to me, getting my first out by striking out a big hitter. Because that became my pattern for five years, trying to get out of trouble by throwing harder and harder and harder."

"It is a curious thing that while a home-run hitter is expected to fatten up in the routs, and the pitchers are certainly not supposed to let up, the opposing team becomes furious when a base is stolen after a game is apparently out of reach. Particularly the manager. The theory seems to be that the stolen base is somehow extraneous to the game, that it is an extra effort, a thumbing of the nose. Not on our team it isn't. Stealing bases is Maury's game, and—to a sometimes alarming extent—it was the Dodgers' offense. Maury's game is to get the other team upset, to get them into a frame of mind where they are so eager not to let him show them up that the catcher throws the ball too hastily and the fielder rushes his tag. Result: the hasty throw is off the mark and the infielder neglects to wait for the ball. Maury's game is called Panic!"

"Pitching is the art of instilling fear, making the man flinch by making him look for the wrong pitch. You're trying to control his instincts. But if your control is suspect like Ryan's is, and the thought of being hit is in the batter's mind, you'll go a long way."

"Well, I already have a fork ball, but it's not really another pitch. I use it instead of a change of pace. If I have a good fast ball and a good curve ball I hesitate to use anything else. But if they're not getting me by, I try to use anything I can, including the fork ball. [...] I don't know if I can throw any other pitches. I used to try the slider once in a while, and some other pitches, but since I had this little problem with my elbow it seems like only my old standby pitches don't bother me. All the new stuff, like the slider or the others I used to try, it seems like they all hurt my arm."

"You know what happens? Somebody writes a story 10 years ago and it never changes. If the guy 10 years ago was wrong, the stories are gonna be wrong for 20 years afterward. [...] They used to annoy me a lot more, but now I've begun to feel they're going to be written, there's nothing I can do about it and I'm not going to worry about it. Sometimes things don't come out the way you say them. You run into one of those reporters who's more interested in the dictionary and the very good usage of the English language, and he thinks that when says cool it means cold. But you can't let it annoy you."

"At times it's a satisfaction and at times it's a little bit of an intrusion. You don't mind the kids. But sometimes their parents get to be...well, not bad about it, but they become demanding. The kids will ask, but the parents will demand sometimes. As long as somebody asks, I don't mind at all. But the ones who demand are tough on me. I've got so many bosses already I don't know if I can stand one or two more."

"What do I strive for? Well, I go out there with the idea of shooting for a no-hit game. When the first hit is made off me, I then try to keep them or any runs scored down to a minimum. The main idea is to win. As to strikeouts, yes. I am proud of my records. I'm not out there trying to blow down every hitter. There are too many smart ones in the league. I want to get them out first, strike them out if I can."

"I became a good pitcher when I stopped trying to make them miss the ball and started trying to make them hit it."

"People who write about spring training not being necessary have never tried to throw a baseball."

"The biggest thrill is the game where you give up one or two or three runs when you don't have anything, when you have no right even being out there, no reason to be out there. Those games are the difference between having a .500 year and a really great year. You figure, if you go out there 30 times, 15 times you're going to have great stuff and 15 times you're going to have mediocre stuff. If you can win a fair percentage of the games when you're mediocre, you're going to have a good year."

"I'll never know. I've never been in a fight. But I doubt whether pitching speed would have any significance. You can't go into a windup in the ring."

"The Internet isn't my thing. I so much rather talk on the phone."

"I especially like girls who know how to share the conversation, and not just talk about themselves. I think a movie, followed by dinner is a perfect first date. For a romantic date — ice skating."

"I mean, to see somebody else when they put so much work into whatever they do... that inspires me. My dad, he does that very much so. An actor that I really look up to is Johnny Depp. The amount of work that he puts into his stuff, he is such an amazing actor I think!"

"I'm a very outgoing person. I'm always happy, I'm one of those people who are always smiling. If somebody described me to somebody else, they'd say the kid with the curly hair with the big smile on his face. I get along with everybody."

"If I'm in a bad mood, my thing is I go clean! That's what relaxes me! I go and clean everything."

"Everyone feels embarrassed, but when you laugh it off, it's fine."

"I started about five years ago when I did a hospital visit and was shocked at what a huge difference the Starlight Children's Foundation] makes for not only these children but also their families, who are also affected. I consider family one of the most important aspects of life, because at the end of the day your family is who is always going to be there for you. When it comes to these children, their family is all they have because some of them never get to leave the hospital."

"Help! I'm David of Sesame Street, and they're trying to kill me!"

"I'm not joking when I refer to our country as the United States of Amnesia, although I was corrected recently by Studs Terkel out of Chicago. And he said, “Gore, it's not the United States of Amnesia; it's the United States of Alzheimer's.”"

"I wanted an autograph from Northern Calloway, when we were in Stony Lodge together, I asked and was dragged away. He was the only celebrity I met as a kid. I still remember, the sheet over his face, his body on a stretcher. And the only food for thought that would feed my head was like my childhood, David from Sesame Street was dead."

"The key issue is jobs. You can't get away from it: jobs. Having a buck or two in your pocket and feeling like somebody. Mother Jones Magazine - Sep 1995"

"I like quoting Einstein. Know why? Because nobody dares contradict you."

"Think of what's stored in an 80- or a 90-year-old mind. Just marvel at it. You've got to get out this information, this knowledge, because you've got something to pass on. There'll be nobody like you ever again. Make the most of every molecule you've got as long as you've got a second to go. That's your charge."

"A man comes from New York. He says, "These petitions, your name is on all of them: anti-poll tax, anti-lynching, friendship with the Soviet Union.... don't you know the communists were behind them?" And he said, "Look, you can get out of this pretty easy. All you got to do is say the communists duped you. You were dumb. You didn't mean it." I said, "But I did mean it!" To this day people say, "Oh, Studs, you were so heroic." Heroic? I was scared shitless! But my ego was at stake. My vanity. "Whaddya mean, I'm dumb?""

"For the first book, I interviewed one mother of four little kids, skinny, pretty, bad teeth — meaning no dental care — and the kids are jumping around, 'cause they want to hear their mamma's voice played back... and so I play it back, and she listens to what she said on the tape and she says, 'Oh my God,' she says. ' I never knew I felt that way before' … That's pretty hot stuff, isn't it? That's hot stuff. That's the stuff."

"You know, "power corrupts, and absolute power corrupts absolutely"? It's the same with powerlessness. Absolute powerlessness corrupts absolutely. Einstein said everything had changed since the atom was split, except the way we think. We have to think anew."

"Terkel has built a career on the hunch that pretty much everyone might be worth trying to talk to: the rich and famous, certainly, and burglars and murderers and Ku Klux Klansmen — but most of all the teeming, unexamined mass of American life in between. Armed with a tape recorder, he has interviewed hundreds of people, producing a series of books that tell the story of the American century verbatim, and from the ground up: day-labourers, poor farmers and gangsters for Hard Times, his book about the Depression; everyone from steelworkers to hookers for Working, about the realities of employment in America; and his Pulitzer Prize-winning chronicle of the second world war, The Good War. They are the sound of a nation spontaneously unburdening itself to the first person who had thought to ask."

"I was born in the year the Titanic sank. The Titanic went down, and I came up. That tells you a little about the fairness of life."

"Chicago is not the most corrupt American city, it's the most theatrically corrupt."

"I was walking downstairs carrying a drink in one hand and a book in the other. Don't try that after ninety."

"I'm celebrated for celebrating the uncelebrated."

"At a time when pimpery, lick-spittlery, and picking the public's pocket are the order of the day — indeed, officially proclaimed as virtue — the poet must play the madcap to keep his balance. And ours."

"Redemption, he says: that's what this book and all the others are really about. His favourite interview was with CP Ellis, a former Ku Klux Klan leader who ended up fighting for the union rights of black janitors alongside his partner, an African-American woman. "Anybody can be redeemed. I've seen it.""

"Something was still there, that something that distinguishes an artist from a performer: the revealing of self. Here I be. Not for long, but here I be. In sensing her mortality, we sensed our own."

"Doris Lessing: We simply have no idea of Chicago … We never think of you as being on a lake, or of the city being beautiful. We think about the gangsters. You do still have gangsters, don't you? Terkel: Yes, but these days they're mostly in business, or politics."