I love comedy. That's what got me into the arts. I don't even know how to categorize myself anymore.
— Steve Martin
It's a mystery to me the way that contemporary art galleries function.
A record isn't like a movie - you can get it together pretty fast.
I never thought about success. I always thought about doing the job at hand. My goal was getting through the show that night.
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.
When I finally retire, I just want to go away so no one has to listen to me.
I think when I was young, let's call it high school, and even before that, I just loved comedy, and I loved comedians. I grew up watching Laurel and Hardy. That's really a long time ago. I loved Jerry Lewis. I just loved comedians.
Theories, for me, are just about freeing your mind. It doesn't mean the theory is going to work like a scientific theory works. It's about freeing your mind and making you think a different way.
The thing about the banjo is, when you first hear it, it strikes many people as 'What's that?' There's something very compelling about it to certain people; that's the way I was; that's the way a lot of banjo players and people who love the banjo are.
With comedy, you have no place to go but more comedy, so you're never off the hook.
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 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 cringe at backstory. Because it never quite explains or gets into some psychological thing that is never quite right and never quite the truth and who knows why someone is some way.
In my banjo show with the Steep Canyon Rangers, I do do comedy during that show. It'd be absurd just to stand there mute and play 25 banjo songs.
I loved to make people laugh in high school, and then I found I loved being on stage in front of people. I'm sure that's some kind of ego trip or a way to overcome shyness. I was very kind of shy and reserved, so there's a way to be on stage and be performing and balance your life out.
I was very interested in vaudeville. It was the only sort of discipline that was a five-minute act on stage, which is what I really enjoyed and saw myself doing. And I bought books on it.
I did stand-up comedy for 18 years. Ten of those years were spent learning, four years were spent refining, and four years were spent in wild success. I was seeking comic originality, and fame fell on me as a byproduct. The course was more plodding than heroic.
I'm enamored with the art world.
I have thought about some kind of musical involving my music. That would be kind of interesting. I have thought of it in that way, as a creator of something, not so much a performer. So that's in my head.
I was reading an article in the 'New York Times;' it talked about being in the zone, and being in the zone you're so focused that time ceases to exist. It's when you think, 'Oh, I've been doing this for five hours and didn't even know it.' It's the difference between hard work and going, '12 o'clock, not moving.'
When I was in college, I really liked poetry. I don't read much anymore.
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. I've had that happen to me, and I've seen it happen to other people. I find it fascinating.
I don't like to look back, and I'm always worried about the next thing rather than resting on the laurels or the degradations of the last thing.
I love technology, and I love science. It's just always all in the way you use it. So there's no - you can't really blame anything on the technology. It's just the way people use it, and it always has been.
I just wanted to be in show business. I didn't care if I was going to be an actor or a magician or what. Comedy was a point of the least resistance, really. And on the simplest level, I loved comedy.
I like the idea that one thing leads to another. You can tweet something completely innocuous, and then find yourself going off on a tangent that's inspired by a response.
'Dirty Rotten Scoundrels' is a good one because it not only turned out, I think, to be a really funny movie but it was also a delight to shoot. We were in the South of France, working with Glenne Headly and Michael Caine and Frank Oz the director - who were just fun.
I'm enamored with the art world. Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.
What I mean is that none of my talents had a - what's that great word - rubric. A singer, an actor, a dancer - there was nothing I could really say I was. The writing came much later. And, actually, thank God, because if I had said I'm a singer, I would really have just had one thing to do.
I like all kinds of music. I listen to Abigail Washburn, the Punch Brothers, and Marc Johnson, the great clawhammer player. I also listen a lot to Sirius Radio, there's a lot of bluegrass there.
When I was in college, I was debating to try my hand at show business, or to become a professor. I just thought of the risk of not going into show business and always wondering if I would've had a chance. Because that's where my real heart was.
Everything is fraught with danger. I love technology and I love science. It's just always all in the way you use it. So there's no - you can't really blame anything on the technology. It's just the way people use it, and it always has been.
I was raised with 'Laurel and Hardy' and 'I Love Lucy' and Jerry Lewis, and I just loved it. And I had a friend in high school and we would just laugh all day and put on skits. You know, it's the Andy Kaufman thing or the Marty Short thing where you're performing in your bedroom for yourself.
When I first started doing my comedy act, I just desperately needed material. So I took literally everything I knew how to do on stage with me, which was juggling, magic and banjo and my little comedy routines. I always felt the audience sorta tolerated the serious musical parts while I was doing my comedy.
Anytime you look at anything that's considered artistic, there's a commercial world around it: the ballet, opera, any kind of music. It can't exist without it.
I first thought maybe I'd do a banjo presentation record, where I'd play a couple of songs and get a bunch of other players to do the rest. Then I realized I had enough of my own songs to do an album of them.
You want to be a bit compulsive in your art or craft or whatever you do. You want to be focused on it.
I really enjoy finding the right word, creating a good, flowing sentence. I enjoy the rhythm of the words.
I never thought much about success early on. I only thought about being a comedian - or just being in show business, is really more accurate.
L.A. is only where you live, because otherwise it's just a sprawling mass of everything, and I think if you live in L.A., you get a little network of places you go, and people you see, and when you leave town, you do miss those places and your friends.
Most comedies are really hard to write, or to watch, because you kind of generally know what's coming.
I was always a huge fan of E. E. Cummings. He did a series of lectures at Harvard or Princeton, and they were recorded. And they were incredibly moving.
I think there are people out there writing original bluegrass songs, but it's hard to get them out on the air.
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.
I thought 'Borat' was a breakthrough comedy, because it was really funny. It wasn't some studio-produced script with 14 writers.
Bad psychoanalysis would say I enjoyed pleasing people, working really hard and pleasing people, which is probably related to my father in some way. But I really liked working hard. When I worked at Disneyland, I'd do 12 hours straight and go home thrilled.
I feel good about being able to take bluegrass on to television like 'Letterman' and 'The View,' and I've heard nice things about being able to do that. I really haven't felt any negativity toward me or my music.
I actually credit Twitter with fine-tuning some joke-writing skills. I still feel like I'm working at it.
Nothing I do is done by popular demand.
I was not naturally talented. I didn't sing, dance or act, though working around that minor detail made me inventive.
