I take it as a comment on my skill as a comedian. It seems like nothing. It should seem like something anyone could do.
Seinfeld: I’m very kind. Everyone has a few fake laughs they use to get through life. The snort, the snort-chuckle, the nod-smile, the “That’s good!” But they’re all just nice ways of saying “Stop. Please stop.”
Playboy: What irritates you? Seinfeld: Everything. I just hate everything and everybody. And that’s why I’m so funny. If I didn’t have all these sensitivities, I’d have nothing to talk about.
Playboy: Do you enjoy your job? Seinfeld: I am my job. Everything else in life pales by comparison to the interpretive experience: seeing something, interpreting it, shaping it, communicating it and being affirmed for it.
Actors go into auditions thinking, Oh God, they’re going to hate me, they’re going to hate me. I started to come in selling confidence, not even my acting skills. The best actor never gets the job when they audition. Never. Especially in television. The guy who gets the job is somebody who comes in and delivers every day. It’s often looks more than anything. So I just changed my attitude. I thought, From here on out, I cannot lose a job. I’ll do whatever it takes. So I’d come in with a dog under my arm for some scene. I’d pull a champagne bottle and phone out of my jacket and do the scene. People were like, “What the fuck is that?’’ I just thought, Fuck it. It’s where I’m going to hit the ball, not if I’m going to hit it.
In your 20s, you figure out what it is you’re going to be. You do a lot of different jobs. By your late 20s, you sort of have some idea of what it is. Then you spend your 30s and a lot of your 40s making your mark.
Trumpet players, like anybody else, are individualized by their different ideas and styles. The thing to judge in any jazz artist is does the man project, and does he have ideas.
a bird flies, a fish swims, I drink.
In Washington, the truth is never told in daylight hours or across a desk.