Steve Martin Thinking Quotations

I don't think anyone is ever writing so that you can throw it away. You're always writing it to be something. Later, you decide whether it'll ever see the light of day. But at the moment of its writing, it's always meant to be something. So, to me, there's no practicing; there's only editing and publishing or not publishing.

I think there are people out there writing original bluegrass songs, but it's hard to get them out on the air.

I think I meant that, given the circumstances of my childhood, I had the illusion that it's easier to be alone. To have your relationships be casual and also to pose as a solitary person, because it was more romantic. You know, I was raised on the idea of the ramblin' man and the loner.

I've run into people in my life who were so dramatic; people who are so extreme and so frustrating to be around that you end up thinking about them and talking about them for literally years after your experience with them is over.

Movies always are open to being remade because times change so much, and the tempo of movies changes. I think of it like a James Bond. They can have different actors play the same role... I've had people come up to me and say, 'We want to remake 'The Jerk' with so and so.' And I say, 'Fine.' It just doesn't bother me. It's an honor actually.

The bluegrass community... can be very strict. I didn't know if I'd be welcomed into the bluegrass community or not, but I think they judge you very fairly... I felt really welcome.

Well, today the Grammys is much much better than the Oscars. I think the differences in the shows are that the Grammys are much wilder. The Oscars is much more people in the industry. And people dress wilder, I think, at the Grammys.

I always think back to my high school days and realize all the people who were so popular then are nowhere now and all the people who were steadfast and steady-going are somewhere. So high school doesn't necessarily translate to later in life.

I think probably the most difficult challenge was just the climb and rise in show business because I went through my entire twenties with some success as a comedy writer but not much as a performer. And you have to be kind of informed and naive at the same time.

Stand-up life is really hard. At one point, I got so paralyzed I could write five screenplays before I could write three jokes for stand-up. Later, I've finally allowed myself to relax quite a bit, to think I can do it because I've done it in the past. The pressure to come up with the material is the same but the anxiety about whether I can do it is gone.

Kids like my act because I'm wearing nose glasses. Adults like my act because there's a guy who thinks putting on nose glasses is funny.

When I die, now don't think that I'm a nut, don't want no fancy funeral, just one like old King Tut.

There is something going on now in Mexico that I happen to think is cruelty to animals. What I'm talking about, of course, is cat juggling.

I think communication is so firsbern.

Be undeniably good. When people ask me how do you make it in show business or whatever, what I always tell them & nobody ever takes note of it 'cause it's not the answer they wanted to hear-what they want to hear is here's how you get an agent, here's how you write a script, here's how you do this-but I always say, “Be so good they can't ignore you.” If somebody's thinking, “How can I be really good?” people are going to come to you. It's much easier doing it that way than going to cocktail parties.

These days it's hard to look at a poodle without thinking what a good meal he would make.

I think films are about having a good time, so I don't know that there's a message. The message of a film is always what a critic writes, and the fun of a film or the emotion of a film is what the audience feels.

To me, torture would be, "I can't think what to write in the next sentence. I'm stuck." Torture would be if you didn't have the next idea.

It's not what you know, it's what you think you know.

I think when the movie `Roxanne' came out, which I also had written, I felt something new that I never felt, which was respect.

The lure in art collecting and its financial rewards, not counting for a moment its aesthetic, cultural and intellectual rewards, is like the trust in paper money: it makes no sense when you really think about it. New artistic images are so vulnerable to opinion that it wouldn't take much more than a whim for a small group of collectors to decide that a contemporary artist was not so wonderful anymore, was so last year.

I try not to think about legacy because it is all ­folly. If you study history, even recent history, you'll find many people who were quite significant in their time but are completely forgotten.

I do think that animated films have the ability to touch you someplace. There is something about live action movies that is different because we know the characters are real people, so they always stay flawed for us somehow. But animated films touch us in a very clear, uncomplicated place. They have that ability. And an animated character can make an expression in a way humans can't do.

Or is it that I think too much?

I'm not Vegas. Places I play usually cost like $3 to get in, you know, and people are going: Gee, I've got $3, I think I'll throw it away.

I don't think comic timing is the same as music timing, but I definitely find that I've learned from just writing in general that songs can be narrative without having a story.

You want to know how I think art should be taught to children? Take them to a museum and say, 'This is art, and you can't do it.

She didn't even finish her last sentence; it just trailed off. I think the subject had changed in her head while her mouth had continued on the old topic, not realizing it was out of supplies.

It's spooky to look at yourself, because you are never quite what you think you are. And you are never as good looking as the person you are acting with, or something like that. So I learned to stay away from it because it was giving me more negative feelings than positive ones.

For a while, Mirabelle believes there will be a moment when he will cave in and let himself love her, but eventually she lets the idea go. She hits bottom. She dwells in the muck for several months, not depressed exactly, but involved in a mourning that at first she thinks is for Ray but soon realizes is for the loss of her old self.

I'm trying to think of other ones. Oh, yeah, I'd say - somebody would buy something and we'd say, and because you are our hundredth customer today, you get a free paperback.

If you saw her in these moments, you might think she was collecting her thoughts in order to go forward. But I see it another way: Her mind is being overwhelmed by two processes that must simultaneously proceed at full steam. One is to deal with and live in the present world. The other is to re-experience and mourn something that happened long ago. It is as though her lightness pulls her toward heaven, but the extra gravity around her keeps her earthbound.

I was always very shy but as I get older I think, What am I being shy for? You just grow weary of your own hang-ups.

Some nights, alone, he thinks of her, and some nights, alone, she thinks of him. Some night these thoughts, separated by miles and time zones, occur at the same objective moment, and Ray and Mirabelle are connected without ever knowing it.