Quotes About Recognition

James Brown is important because he decorates the clock correctly and he's good with lower mathematics. Don't get me wrong - he's good.

I have a very, very good memory, and I always remember the people who have done right by me and the people who have done wrong by me.

I don't care what you say about me. Just be sure to spell my name wrong.

Punk recognised the fact that the establishment had no room. There's no point in saying you've got the establishment wrong because they hadn't got the establishment wrong, they'd got it absolutely dead on.

Don't get me wrong. I don't take anything for granted. But it seems like the better I play, the more attention I get. And I can't get away from it. You play great, you get attention. But I hate attention. It is weird. I'm in a bind. The more you win, the more they come.

For a lot of people, becoming an author is a change in occupation... they are coming from something that totally has nothing to do with this. If they are expecting to come into a room full of people praising them, then they are in the wrong place.

I don't treat my family any differently because they're on television. I've always had a problem grasping fame. I don't think I understand fame, and I don't think I ever will. I think that anybody who thinks that they understand fame, they're doing it for the wrong reasons.

The IndyMac name had a lot of brand recognition - maybe for the wrong reasons, but there was recognition.

I feel very awkward about receiving attention for the wrong reasons.

There are so many roads you can take that will lead you the wrong way, that nobody will hear your name.

I think that if you go about making movies to win Oscars, you're really going about it the wrong way.

I watched 'Free Willy' probably 100 times. I nearly wore out the VHS tape. That movie was my introduction to Michael Madsen. When I finally saw 'Reservoir Dogs', I was like, 'That's the guy from 'Free Willy'!' - which is probably the wrong way around.

If I played Bond, my dad probably wouldn't know what to do with himself. He'd probably put his shoes on the wrong way for the rest of his life!

I don't want this to come out the wrong way, but in the '60s and '70s, I don't know anybody who was known around the world like I was.

Finally, I'm recognizing that rewrites aren't some cosmic punishment for childhood wrongs but the nature of the business.

'Die a Happy Man' was one of those that, when I wrote it and sent it to my label, their response was, 'This is a career record.' I was like, 'Why do you think that?' I think the stars aligned.

Every article I wrote in those days, every speech I made, is full of pleading for the recognition of lead poisoning as a real and serious medical problem.

I'm astonished by my success. I wrote because I needed to and wanted to. It never occurred to me that I'd become famous.

When I moved out to Los Angeles to get some film and television work, and couldn't get any... I became a little isolated, a little terrified, and it's a good place to get writing, because you're so bored. So I wrote a few screenplays, and people notice those.

The fact that people are already reading and loving something I wrote is still hard to believe.

When I play the first few notes of a song and people start screaming, I think: 'That's why I did this. That's why I wrote this song. That's a good job.' And it is a job.

The best novel I wrote was one called 'Crusoe's Daughter,' which never won any prizes. But I was getting somewhere in that. I'm not sure I have in any of the others.

Six years, I didn't act. Then I wrote myself a role - I won prizes all over the world.

It's a weird thing. Rick Springfield wrote 'Jessie's Girl,' and he probably gets sick of talking about 'Jessie's Girl.' The thing is, I didn't write 'Blurred Lines.' I didn't direct the music video. I'm really happy for the success, but it is kind of a funny thing to follow me around.