Quotes About Talent

I was nearing the end of childhood when I started to pay real attention to jazz singers. Women excelled as jazz singers; they surpassed most of the men. Black women excelled as jazz singers; they surpassed most of the whites.

Who am I, if I'm not this singer with big high notes? I identify with my voice. But I'm more than just the acrobatics.

I played at Sony, Warner Bros., Universal, Big Machine, Capitol... after I played every one of those places, everyone offered me a record deal. I was just like, 'Who am I? Why do I even deserve this?' There are people busting their butts on Broadway doing this hardcore, playing three hours a night for tips, and I didn't even ask for it.

I had the good fortune of speaking with Orson Wells many decades ago and he said 'Success is primarily luck anyway.' And I have been very lucky. Of course, Orson Wells was enormously talented and brilliant - so who am I to argue with him!

I never want to sell my soul for something I don't believe in. Because guess what? Somebody somewhere in the world would have believed in that part and should be playing it - who am I to not allow that person that opportunity?

I still care about human behavior and the art that it takes to write a good piece and to get a cast together who cares enough to put 150 percent of their talent into a project.

So many guys come onto the scene who aren't supposed to be there. You pull for one, and then you see there's another and another and another, and you start to say, 'Who cares where a player was drafted? He can play football, and he can play at this level.'

It's part of the reason I went to Duke. Coach K came to me. He saw everything but the dunks. He was like, 'It's a dunk. It's two points. Who cares?' He saw every other part of my game that I wanted the world to see.

When you are old enough to... play powerful parts, who cares if you are 45, 55 or 65?

It doesn't matter if you have a six-minute match on 'Superstars,' go out and steal the show. Go have a great, solid match. Somebody's going to say, 'Who cares about 'Superstars?' Nobody watches it. And it's only six minutes.' That's the wrong attitude. That's a loser's attitude, and that's what I've told dozens of talents.

When I was in college at UCLA, I took a playwriting course. I was all set to be a writer. But I had to take this acting class as a theater arts major. I had to do this scene in a one-act comedy. I just said this line, and then... this laugh happened. I thought, 'Whoa. This is a really good feeling. What have I been missing?'

I remember I could do - I did Bart Simpson once on the bus. I did, like, a really good Bart Simpson voice on the bus, obviously before I hit puberty. And everybody went, 'Whoa, that sounds just like Bart Simpson.'

There are kids who get on a BMX bike when they're eight years old and they go, 'Whoa, this is incredible,' and grow up to do extreme sports. It's the same for me with acting.

I first started going to shows when I was about 16 - seeing local bands. I mean, I loved music before that, and I played a bit of guitar when I was younger and thought maybe I'd become a guitar teacher or something, but when I saw other kids doing it, I was like, 'Whoa, these are great bands! I can do it, too.'

In a perfect world we'd want gay people to play gay people, but I think that's a good rule of thumb: Whoever gives the best audition should get the part. My problem is getting anybody to hire me for anything other than queens.

It would be really cool to have some more roles where it doesn't matter how a character looks. You get a script, you see it, and it doesn't matter: there's no description of how the character looks in any way shape or form; it's just, whoever is right for the role is the person.

It is a pleasure for whoever loves football to enjoy watching Hazard.

You can talk about all the great guitarists you want Jimi Hendrix or whoever but as far as I'm concerned, Duane Allman is the best. No one ever played like him.

There are many singers who have got an exceptional talent, but spend their lives singing in local trains or hotels. Does the country even know who they are? Music in India is restricted only to Bollywood. Whoever manages to make a mark there is remembered. The ones who fail to reach and make it big there are forgotten.

As an actress we don't beat one another. It's whoever's right for the part.

One of my friends, Bruno Andrade, was so quick, he just used to knock the ball past whoever he was playing against, and I thought, 'Why can't I do that?' Until then, I would try to dribble and maybe try a stepover, but Andre would just knock it then - beep, beep - and he was so fast, he would get there first.

In auditions, you're not up against anyone else; you're both going in for the role, and it's like, whoever's right for it will get it. It's simple. It's not like, 'Oh I won!' There's never that element. It is very supportive.

What you find in the theatre is that if you're good, no matter what color you are, the audience will buy that - whoever you are.

I knew I wanted to do music at eight years of age. I listened to a lot of Motown growing up, and it got to the point where I started mimicking people - Michael Jackson or whoever. People started to notice I could hold a tone. The bug was always there.