I wrote my book 'The Amorous Busboy Of Decatur Avenue' completely like a writer does, writing it down, re-writing everything. But in my stand-up, I improvise initially, never questioning it too closely.
My goal is to strip things down so that you need just the right amount of words or shape to convey what you need to convey. I like editing. I like it very tight.
It would astonish if not amuse the older citizens to learn that I (a strange, friendless, uneducated, penniless boy, working at ten dollars per month) have been put down as the candidate of pride, wealth, and aristocratic family distinction.
When it comes down to it, glam rock was all very amusing. At the time, it was funny, then a few years later it became sort of serious-looking and a bit foreboding.
I take a situation, analyse it, break it down, put it in the form I want it to be in, and then I toss it away. Let somebody else go deal with it.
What makes a three-man booth challenging is everybody's gotta give up a little something. Right? Because normally you'd have one guy being the analyst, and he's got the ability to go at his own pace and do everything and break down everything, but when you've got two people, somebody's gotta give up a little something.
You couldn't put me in a social group setting. I'm probably a terrible anarchist deep down.
We should not look down on our first ancestors.
Going after a part in Hollywood is like being a gladiator in ancient Rome. When it comes down to getting a role, you don't have any friends, you're incredibly competitive and any actor who tells you different is lying.
I'm pretty fast getting up and down the court, especially with Andre Miller.
I've been through natural disasters. I lived down in Miami and was down there for Hurricane Andrew which was a Category 5. There were members of my family that thought they were going to die. Everyone was in the bathtub.
What was so interesting about the glam era was that it was about bisexuality and breaking down the boundaries between gays and straights, breaking down the boundaries between masculinity and femininity with this androgyny thing.
I write and write and write, and then I edit it down to the parts that I think are amusing, or that help the storyline, or I'll write a notebook full of ideas of anecdotes or story points, and then I'll try and arrange them in a way that they would tell a semi-cohesive story.
If you get down and quarell everyday, you're saying prayers to the devil, I say.
To knock a thing down, especially if it is cocked at an arrogant angle, is a deep delight of the blood.
If you want a robot to maneuver aggressively, it has to be small. As you scale things down, the 'moment of inertia' - the resistance to angular motion - drops dramatically.
I turned down 'American Gigolo.' There are many films - like 'Ghostbusters' - that I turned down... The first one I did was 'Foul Play' with Goldie Hawn, but I turned down 'Animal House' - I turned that down.
I don't buy any leather goods or anything made from animal products - no down, nothing. It's something people should be mindful of.
There is nothing - nothing - worse than seeing ankle or a hairy calf when a man in a suit or trousers sits down.
The worst was when my skirt fell down to my ankles, but I had on thick tights underneath.
