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The young man who's had the Guggenheim fortune behind him all his life - he can hire all the authorities on the subject to teach him how to do a monologue, but he's never going to have the right stuff to pull it off. If he doesn't walk out onstage needing to walk out there, he doesn't have a dream of doing well.
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Getting attention is my business. My whole life's predicated on, 'Hey, look at me!'
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Adrenaline is so strong that none of us understand it.
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I never stop working.
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When I arrived in Las Vegas, I felt I was embraced by it.
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That never stops. That's what drives you: the joy and excitement of doing what you love.
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I feel I have been a part of some very wonderful films, and I have had it in mind when I was on the set, every day, that what I am doing has meaning.
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I almost get annoyed at the fact that I'm not going to use all that I got.
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What's happened at 85 is I've lost my appetite. I used to be a little hog when I was young. But now I really don't seem to need it.
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I don't want to be remembered. I want the nice words when I can hear them.
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God hadn't made me handsome, but he'd given me something, I always felt: funny bones.
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I expect people that come to the studio to work to come with the same energy I come with. If I see less than that, I get very strong about, if you want to do this, come with a sense of pride, come with eagerness and anxiety.
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I tell young comics, 'Do you want this badly enough? It's there. But you have to go get it. And if you think I'm going to give you the key to the lock of that door, there is no key, there is no lock, and there is no door.'
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This is the pain pacemaker. I've got a battery under my skin. From that battery are two electrodes that go into the spine where they cut bone away to accommodate it. Now I put on the power here. If I have the pain, the stimulator starts. It's tingling, like when your foot falls asleep, you know?
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What happens at 90 is that I don't walk so good, my eyes are going, I can't hear well, and I'm getting all of the 90s residuals.
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I have always said that I cannot allow the child within me to die. It's kept me alive.
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It'll keep you alive for another 10 years if you get yourself a laugh once a day: either provoke it, or look around in the wildest laboratory in the world, the public.
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When I was young, I wasn't disciplined at all.
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I believe when you go out there, you have a responsibility to deliver. I have old-fashioned thinking when I'm out there.
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If you're an old pro, you know how well you're doing when you're doing it, and your inner government spanks you if you're not doing well.
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A wonderful thing happens over time. You fall in love with the sound of your own voice.
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The greatest thing I can remember in my whole career was the Ringling Brothers & Barnum and Bailey clowns asking me to appear with them at the Shrine Auditorium in Los Angeles in 1965.
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I don't talk about anything negative.
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I'm really, basically, nine, and I've always been that. I've never, ever allowed the child within me to die.