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“If my wife is cooking a meal at home, which is not often, thankfully, but you know, she's doing (oh, she's good at some things) but if she's cooking, you know, she's dealing with people on the phone, she's talking to the kids, she's painting the ceiling, she's doing open-heart surgery over here; if I'm cooking, the door is shut, the kids are out, the phone's on the hook, if she comes in I get annoyed, I say "Terry, please, I'm trying to fry an egg in here, give me a break.".”

“It took me three, four years, to get from my first film to my second film, banging on doors, trying to get people to give me a chance. Writing, struggling, with no money in the bank, working as an editor on the side. Working as a cameraman on the side. Getting little jobs, eking out a living. Trying to stay alive, and pushing a script that nobody wanted.”

“I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.”

“I was driving in Manhattan. There's traffic, nobody's moving... The guy behind me is honking just at me. He kept yelling at me. I decided that I'm gonna argue with this guy, but I'm gonna argue about something else. I'm not having his argument; I'm having mine. So, he's like, 'Go!' And I go, 'Well give me back my jacket!' And he stopped. I was like, 'Yeah, you got my jacket! Give it back! I said you could borrow it, not have it! You're stretching it out, you fat pig! Give it back, now!' He got back in his car, and he locked his doors.”

“The difference between EAZY E the artist and Eric Wright the human being, was two separate worlds apart. Behind closed doors, Eazy-E was a real generous giver, A true philanthropist.In 1991, I remember when Eazy-E drove out to Fontana California to drop off $20,000 cash because my twin boys were having hernia problems & and slight medical issues because of being born premature. He stopped his meeting & drove to give me the cash for my twins operations.”

“There's a Polar Bear In our Frigidaire-- He likes it 'cause it's cold in there. With his seat in the meat And his face in the fish And his big hairy paws In the buttery dish, He's nibbling the noodles, And munching the rice, He's slurping the soda, He's licking the ice. And he lets out a roar If you open the door. And it gives me a scare To know he's in there-- That Polary Bear In our Fridgitydaire.”

“You, God, who live next door - If at times, through the long night, I trouble you with my urgent knocking - this is why: I hear you breathe so seldom. I know you're all alone in that room. If you should be thirsty, there's no one to get you a glass of water. I wait listening, always. Just give me a sign! I'm right here... Sen komşu tanrı, Uzun geceler bazen, Kapına vura vura uyandırıyorsam seni Solumanı seyrek duyduğumdandır... Bilirim, yalnızsın odanda. Sana birşey gerekse kimse yok, Bir yudum su versin aradığında. Hep dinlerim, yeter ki bir ses edin, Öyle yakınım sana.”

“I already read everything. I read poems and plays and novels and newspapers and comic books and magazines. I read tins in supermarkets and leaflets that come through the door, unsolicited mail. None of it lasts long and it doesn't give me answers. Reading too fast is not soothing.”

“I know what I really want for Christmas. I want my childhood back. Nobody is going to give me that. I might give at least the memory of it to myself if I try. I know it doesn't make sense, but since when is Christmas about sense, anyway? It is about a child, of long ago and far away, and it is about the child of now. In you and me. Waiting behind the door of or hearts for something wonderful to happen. A child who is impractical, unrealistic, simpleminded and terribly vulnerable to joy.”

“Observations,” he says. “Four imperial Unseelie guards were the only commonality I was able to isolate endemic to both scenes.” They’d been standing, armed, at the dock doors, overseeing the delivery. He gives me a sidewise look. “Wow. That was, like, a whole sentence. With nouns and verbs and connective tissue. Endemic. Fancy word.”

“Give me your tired, your poor, your huddled masses yearning to breathe free, the wretched refuse of your teeming shore, send these, the homeless, tempest-tossed, to me: I lift my lamp beside the golden door.”

“Give me books, fruit, French wine and fine weather and a little music out of doors, played by someone I do not know. I admire lolling on a lawn by a water-lilied pond to eat white currants and see goldfish: and go to the fair in the evening if I'm good. There is not hope for that -one is sure to get into some mess before evening.”