The English countryside is the most staggeringly beautiful place. I can't spend as much time there as I like, but I like everything about it. I like fishing, I like clay- pigeon shooting.
It's always a pleasure to perform for people who love country music. And Australians definitely fall into that category. Each time I go back, I learn something new about the country, and I get to see some of the most beautiful places on the planet.
That's the beautiful thing about being a father for the first time; it has really made me get my concentration levels in check.
I'm a big believer than a great bit is a great bit - if I go and see someone I love, like Robert Klein. I want to hear some classics and some new stuff. But a great stand-up bit takes a long time to really polish and perfect, and they're beautiful things when they're done.
Beauty is also submitted to the taste of time, so a beautiful woman from the Belle Epoch is not exactly the perfect beauty of today, so beauty is something that changes with time.
The trouble with life is that there are so many beautiful women and so little time.
It is time for parents to teach young people early on that in diversity there is beauty and there is strength.
My parents were devoted. Civic minded. We had family counsels. Three of us children against two of them. We lived a 'Leave It to Beaver' time.
At the premiere for 'Leave It to Beaver,' I was walking down the red carpet, and they were screaming my name, and I'm wondering, 'What do I do?' So I had to think, 'OK, calm down, one person at a time.' Everything is kind of rattling, but afterwards, my publicist said I did really good.
I really enjoy listening to players on the cusp of swing into bebop like Charlie Shavers, Clifford Brown and Clark Terry. They balance immense facility on their instrument with rhythm, melody, and more complex harmonies of the time.
Oh yeah, that was the thing to do at that time. This was before the new wave of bebop started.
I was a Democrat for a period of time early on. And then I was also an independent. And then I became a Republican.
It's amazing to me that Glenn Beck can be on the cover of 'Time,' and there can be a whole article about him basically saying, 'Well, you know, he's controversial.' It's like, 'No, he's a dangerous idiot who needs the help of a good psychiatrist!'
Every time I listen to Jeff Beck my whole view of guitar changes radically. He's way, way out, doing things you never expect.
The reason I didn't fly over from Maui at their beck and call is my wife was about to have a baby at any time. Those guys knew that. These guys would not compromise and meet me halfway.
I was a kid that grew up listening to The Beatles and The Stones and Jimmy Page and Eric Clapton and Jeff Beck, and I wanted all of that in there. But at the same time, a large part of my playing is Tony Iommi and Billy Gibbons. I'm just a sum total of all of the guitar players that I think were really cool.
My exposure to Beckett and to late O'Neill was probably important right at the time I gave up poetry and the novel.
Discovering Samuel Beckett in college was a big deal for me. I realized you could be very funny and very dark at the same time.
I spent a lot of time in college studying theater of the absurd and Beckett and Genet, and then I spent a lot of time after that at 'Gossip Girl' auditions, thinking, 'Wow, I really wasted my money.'
Samuel Beckett's 'Waiting for Godot,' billed as 'the laugh sensation of two continents,' made its American debut at the Coconut Grove Playhouse, in Miami, Florida, in 1956. My father, Bert Lahr, was playing Estragon, one of the two bowler-hatted tramps who pass the time in a lunar landscape as they wait in vain for the arrival of a Mr. Godot.
