Most of the time, when I had hits as a soloist - maybe not so much with Simon & Garfunkel - I was surprised they were hits. I didn't know what the hits were. I never thought that 'Loves Me Like A Rock' was going to be a hit, or 'Mother And Child Reunion,' or '50 Ways To Leave Your Lover.' They didn't sound like what the hits sounded like at the time. Radio was more open to things that weren't exactly what every other hit was.
Publishers are very risk-averse, so they lean towards licenses and sequels. But the fact is that even those are not guaranteed hits. So, if 'playing it safe' does not guarantee hits, they might as well leave it up to the really creative, risk-taking people, because they couldn't do any worse.
It's got to be hard to be a band that's trading on your 40-year-old hits, where there's a certain thing that's expected of you. But that's why I admire Bob Dylan's live performances - he's steadfast about mixing up the songs, not just sticking to his greatest hits, and reinterpreting them to the extent that you really can't recognize them until halfway through. It's like, I DARE you to sing along.
Taking the money from drug operations and all that sort of stuff is something that goes past what most of us in society would expect a policeman should do. That temptation hits the police force at the same time as the temptation to take those drugs that are readily available hits the people on the streets.
I haven't given it (achieving 3,000 hits) much thought. I was taught a certain approach, how to come to the ballpark. I try not to do too much thinking about things like that. In this society we measure success in different ways. Three thousand (hits) represents success over a career, not a season. It'll be nice to get to that point.
When you've got an extra gear in your head where that's all you do, you've constantly got a little radar up. ... And when something hits that strikes that beeper, hits that radar, it's like my song skills kick right in and go, 'Oh, OK, there's a song in that.' And then I start trying to figure it out.
I have to believe that most people know that 'Can't Take My Eyes Off Of You' is my song. But the reaction we get from the audience at 'Jersey Boys' is that they didn't remember how many hits we had. A lot of 'Oh yeah, I forgot they did that song.' We had 20 Top 10 hits in the U.S... people forget.
A beginner gets so excited when he hits the ball in the air or maybe hits a nice bunker shot. A player who has won major championships doesn't get that excited about those shots anymore. It takes a lot more to excite you. The closer you get to perfection, the more difficult it becomes. That's what draws me to golf. It's such a challenge.
Our songs did not transcend being R&B hits. They were R&B hits that white kids were attracted to. And if people bought it, it became rock & roll. That's marketing. Why couldn't it still be R&B? The bass pattern didn't change. The song didn't change. It was still 'Yakety Yak' and 'Searchin'.'
I've never been the big recording star I'd love to be some day. I've had lots of hits off and on through the years but I've never had the success of other artists - one hit after another back-to-back-to-back and big hits, where every song is going to be number one. I'm not greedy or nothing. I just want everything. Is there something wrong with that?
There are a lot of things that are in the show that harken back to the old show, but I really wanted to resist doing a greatest hits. It was irresistible to do a greatest hits, but it was almost too easy. There are things that I know are still ahead of us, in the future of whatever Arrested Development brings.
Know what the difference between hitting .250 and .300 is? It's 25 hits - 25 hits in 500 at-bats is 50 points. There's six months in a season, that's about 25 weeks. That means if you get just one extra flare a week - just one - you get a ground ball with eyes, you get a dying quail, just one more dying quail a week ... and you're in Yankee Stadium.
Why am I so anxious? And then it hits me. I'm not anxious, I'm lonely. And I'm lonely in some horribly deep way and for a flash of an instant, I can see just how lonely, and how deep this feeling runs. And it scares the shit out of me to be so lonely because it seems catastrophic - seeing the car just as it hits you.
I used to do fight sequences, and I started to get self-conscious about fight sequences, because invariably the other person would get hurt, and you never want anyone to be hurt on a film, let alone you being responsible. The great thing about working with guys who have spent their life choreographing fights for wrestling is that that's what they do. That's their specialty. Their specialty is selling taking hits. Their specialty is selling explosive hits without making a contact or doing too much damage.
Talent is able to achieve what is beyond other people's capacity to achieve, yet not what is beyond their capacity of apprehension; therefore it at once finds its appreciators. The achievement of genius, on the other hand, transcends not only others' capacity of achievement, but also their capacity of apprehension; therefore they do not become immediately aware of it. Talent is like the marksman who hits a target which others cannot reach; genius is like the marksman who hits a target, as far as which others cannot even see.