Quotes About Travel

We went out for six weeks a year. We first started in Mexico and we did that for so many years that we finally said we've got to explore and start going globally. And then we started going all over the world.

I travel Europe every couple of weeks. I just came back from London, Holland and Denmark. Every nation on this planet has its issues with race, and I am not sure if everyone has figured out how to deal with it.

But I went down to Venezuela and spend a few weeks going through jungles. It's fantastic looking.

And when I have lived elsewhere, every two weeks I have to fly back to LA. Even New York directors go there to audition. So I have to be there to a degree.

I just completed a tour in Europe. I played every night. This requires traveling some days for six hours in a van or a train or a car. After six weeks of that, I checked into the hotel and just fell apart.

Most artists come in and out of the country, they stay may be 2 weeks - or a month max and then they leave.

But the problem with coaching is that it is a full-time job. By that I mean for at least 40 weeks in a year you have to be with the player, either travelling or training. Right now I don't want to do that.

I'm thinking about a few weeks in Montreal to work with a producer I met there.

My idea of a beach holiday is going to New York for two weeks, just going and hanging out.

My first holiday to San Francisco in 1998-99 was supposed to be a two-week vacation but I ended up staying five weeks and nearly didn't come home.

I'm never anywhere for more than three weeks.

There's something fun about the road because there's no 9 to 5. But I do find myself making the effort to take some time off. As much as I don't want to, I have to. I need to reset. I love weeks off, because I can go in the studio and just be creative again.

If someone said, 'You can go live in this little town in Costa Rica for a couple of weeks and all you've got to do is sing for us,' I would do that. That's more exciting to me than the prospect of going on some national tour, where you're going to play arenas or sheds every night, because of the crushing repetition of that kind of line.

I love being on the road, but to make a living as a road comic, you have to be on it most weeks out of the year. That's just too much for me. But I would love to be such a successful road comic that I don't have to go on it every week.

I used to work as a tour guide for Americans. I'm convinced that even after four weeks on the road they had no idea where they had been. They were in a bubble.

I love voyaging - the longest has been 3,000 miles to Hawaii. I've also spent weeks all over the Caribbean.

I lived in grass huts in a jungle in the Philippines for three weeks with tribal people.

I did nine months in 'Mrs. Klein' in New York, then four months on the road. Then I did a movie directed by Philip Haas, who did 'Angels & Insects'. We shot 'The Blood Oranges' in Mexico for six weeks.

From 1987 to 1992, I was on the road for 40 weeks a year playing comedy clubs, and that was during the 'comedy boom.'

In the initial stages of my journey, I was trying to travel too fast by horse by sticking to a 'five days on and two off' schedule. On the steppe, time is not measured by days, weeks or hours but the fall of the seasons and condition of the animals.

I'm an appalling flyer. I get very tense, although I no longer weep uncontrollably for no reason - I just sob if there's turbulence.

I had to stop traveling alone because I missed so many planes. When somebody runs up to you in the airport and begins to tell you their life story, you can't say, 'Excuse me, boo,' as they're weeping on your bosom.

The bravest thing I've ever done is fly to New York. I'm simply terrified of aeroplanes - I am the woman you see weeping at the airport.

On the road, I weigh 168. At home, ten more.