Zach Galifianakis Quotes
A fantasy of mine is to do a podcast that's Marcel Marceau and I, and you only hear me laughing at him and trying to figure out what he's doing.
Quotes to Explore
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I often joke that I straddle psychosis and neurosis, and that being an artist keeps me in the middle, so I can work between the two.
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What they are doing is taking something that otherwise creates pollution and turning it into something useful.
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The physical part of comedy is as hard as a lot of action movies. It scares me, but in a way that I like.
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My dream part would be to play Mitt Romney's sarcastic black maid. We could call it 'Mammy & Me.'
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Here's the thing, for me at least: this is a huge genre now. It wasn't always so. Not so many years ago, it wasn't so. There is a tremendous diversity in fantasy today.
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One of the things that's really, really present in 'Between the World and Me' is, I am in some ways outside of the African-American tradition.
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Stranger, if you passing meet me and desire to speak to me, why should you not speak to me? And why should I not speak to you?
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I really don't have anything urgent to say, and I think you shouldn't write unless you have something urgent to say. Sometimes that troubles me, and sometimes I don't really care.
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The Web forces me to be disciplined and not to waste time – but before the Web was invented, there were plenty of opportunities to do that anyway.
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My camps are always ten weeks. That's what makes me comfortable.
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All the things that most kids hated, I loved. I loved that things were asked of me and that, much to my surprise, I was able to do them. I loved the 10 o'clock bedtime. I loved the responsibility.
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Fantasy is sort of a blank slate that everybody can project their own culture onto. Everybody can read it in their own way.
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I'm not trying to be the next Dave Grohl or Phil Collins.
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I think 'In The Heat Of The Night' was one of the most influential films on me. Looking back now, I can see how influential it was on my screenwriting because here you have what looks to be a crime procedural, and it's actually a study in race and loneliness, and a perception of an era.
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I had no interest in being an actress what so ever, and when I was about 14 or 15, I was signed to a company in England. They owned a children's TV show which they put me in as a singer, and I was on the show for three years, and I left the show when I was 18 and started looking for a record contract.
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A failure is not always a mistake, it may simply be the best one can do under the circumstances. The real mistake is to stop trying.
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With epic fantasy, there is a tendency for it to be quintessentially conservative in that its job is to restore what is perceived to be out of whack.
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Generally the aesthetics of broadcast journalism seem to me to be incredibly primitive.
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Vampirism, for me, was a way to live in fantasy and have superpowers, but not just in a really perfect, happy, everything is great way. It's superpowers with a cost. It's having to be the villain, and what do you do about that.
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I don't really like to write at a desk. I like to write when driving in a car. ... Once you're working on it, you're working on it all the time, and sometimes stuff'll come in the middle of the night, in a dream or something. Your mind is working on it all the time.
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And here he was, a little halfling from the Shire, a simple hobbit of the quiet countryside, expected to find a way where the great ones could not go, or dared not go. It was an evil fate.
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Leaders don’t complain about what’s not working. Leaders celebrate what is working and work to amplify it.
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A fantasy of mine is to do a podcast that's Marcel Marceau and I, and you only hear me laughing at him and trying to figure out what he's doing.
