Quotes About Versatility

Last week I was in London at an awards show, then I flew home and was in an RV park with my wife and kids in our motorhome, this week I'm in NY doing a charity event, and tomorrow I'll be coaching my daughters soccer practice. I guess the range of roles I play on film stem from the range of roles I play in real life.

I think if you've got a good idea it will stand out in one of the different mediums. For example, something might happen to me today and it could be something to talk about tomorrow on the radio, or I can write about it, or perhaps it will be best suited to telly.

I do films which get me out of my comedian routine so that I don't get bored being a stand-up comedian. And with films, it's here today, gone tomorrow. So stand-up comedy is here to stay for me.

As an actor and a writer, the anxiety about doing TV is that you start to feel like you get married to one tone or one kind of idea and you feel like you want to be able to express a lot of different things.

I would like to have a decathlon where all of my throws are really consistent and set the tone. That I'm good all-around, not just a speed and jump guy.

With the fretless bass, you have a different tone and different sound, a different dynamic to the instrument, so you can really make it sing.

If you listen to the old Rock I always had one tone of rapping, but now I'm learning how to stretch out my voice and use it in different ways.

I always keep a hoodie on me at all times 'cause you never know when it's gonna rain, you never know when it's gonna get a little cold at night. So, you always got to keep a hoodie. And I always keep like a earth tone hoodie 'cause it always goes with your outfit no matter what you have on.

One of the things I do well - I think, anyway - is combining different tones.

To me, poetry is spoken - not exclusively, but there's a mix of languages in it. That's what I liked about 'For the Confederate Dead;' it has many different tones to it.

I don't think I would do a straight late-night talk show, like a 'Tonight Show' kind of thing. But I'm open to whatever is done well. I don't have any agenda. I'm not like Fugazi - I'm not trying to be just so punk rock until I die. Whatever is funny is good.

I've been on the 'Tonight Show' a million times, and I'd be embarrassed to do the same thing more than once.

Like to me, I did the 'Harajuku' stuff. I did the crazy stuff. And now I kind of want to tone that back, and it's not toning my personality back, it's just showing like I don't only have to do that.

I've had a lot of seedy side jobs. I've done it all. I've worked retail at the mall, just tons of side jobs, which I think are amazing for actors. I think everyone should have one! It helps you get more experiences, and the more experiences you have, the more you can channel into a character.

You have tons of talents everywhere you go, so you can't be stuck to only one promotion.

I always write tons of different styles.

I'm probably the only one in the world you can name that's worked with Billie Holiday, Louie Armstrong, Ella, Duke, Miles, Dizzy, Ray Charles, Aretha, Michael Jackson, rappers. 'Fly Me to the Moon' was played on the moon by Buzz Aldrin. Sinatra. Paul Simon. Tony Bennett. I'm the only one.

You look at Kawhi Leonard, Tony Allen, Draymond Green: they are great on ball, and they are great team defenders as well. You want to be both of them, not just one.

I did 'Pines,' and everybody wanted me to be the bad boy. Then I did Tony in 'Brooklyn,' and everybody wanted me to be the sweet kid. So I just want to keep everybody on their toes. Basically, that was the thought process.

The person I used to watch growing up was Tony Bland. I just loved the way he played. He was a big guard, and I watched him a lot. He scored, he shared, he did a little bit of everything. I wanted to be a point guard, though it didn't work out that way.

With NOAH, you can create some stunning, yet original soundscapes. Therefore, as a performance tool, it really comes into its own because you can make one single performance which has a lot of detail.

Clarinet is often associated with certain genres, like swing or folk music. I combine the old and new, using the clarinet as an expressive tool and not in one genre. I'm just happy that people are drawn to what I do.

When Photoshop came around, I thought I'd died and went to heaven. When I hear artists say, 'Oh, the good old days' or 'I'm old school,' I just want to puke. There's no tool I won't use.

I don't understand why one should be one thing or the other. Writing, to me, is writing is writing. It should be a flexible tool. Whatever skills I have, have to work for me; I won't be dictated by them.