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La música como una forma de arte es juguetona. Decimos que tocamos [play] el piano, no que lo “trabajamos”. Por qué? La música difiere, por ejemplo, de viajar. Cuando viajas estás tratando de llegar a alguna parte. Y nosotros, siendo una cultura compulsiva y deliberada queremos llegar más y más rápido hasta que eliminamos la distancia entre los lugares. (...) Lo que pasa al final de eso es que los dos extremos del viaje se convierten en el mismo lugar. Así que eliminas la distancia y eliminas el viaje. Porque lo entretenido de viajar es recorrer, no borrar el viaje. En la música uno no hace que el final de la composición música sea el centro de la misma. Si fuera así, los mejores directores serían los que llegaran más rápido al final. Y habrían compositores que solo compondrían finales de composiciones. La gente iría a un concierto solo para escuchar una sola cuerda, porque ese sería el final. Lo mismo con el baile: no esperas bailar para llegar a un punto específico de la sala. El objetivo del baile es el baile mismo. Mira a la gente que vive para retirarse: ahorran para su vejez, y luego cuando tienen 65 no les queda energía, están más o menos impotentes. Y terminan yendo a pudrirse en una comunidad de ancianos. Nos hemos hecho trampa a lo largo del camino. Pensamos la vida como un viaje, que tiene una peregrinación con un propósito serio al final. Y el punto era llegar a ese final: teniendo éxito o lo que sea, o incluso llegar al cielo después de tu muerte. Pero perdimos el foco a lo largo del camino: era algo musical y se suponía que tenías que cantar o bailar mientras la música estaba siendo tocada. Eso era lo que había que hacer, pero no dejaste que pasara.

Alan Watts

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La amistad entre los dos muchachos era tan seria y tan callada como cualquier sentimiento importante que dura toda una vida. Y como todos los sentimientos grandiosos, también contenía elementos de pudor y culpa. Uno no puede apropiarse de una persona y alejarla de todos los demás sin tener remordimientos.

El último encuentro, Sándor Marai.

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El poder humano siempre conlleva un ligero desprecio, apenas perceptible, hacia aquellos a quienes dominamos. Solamente somos capaces de ejercer el poder sobre las almas humanas si conocemos a quienes se ven obligados a someterse a nosotros, si los comprendemos y si los despreciamos con muchísimo tacto.

El último encuentro, de Sándor Marai.

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SELF-CONJUGATION.— Living for today, living in the moment: the wisdom of fools. A man must at every moment be able to conjugate himself in every tense—past, present, and future, but also subjunctive and conditional. There is only one moment when it is appropriate to live entirely in the present tense.

The Zero and the One (Null und Eins), by Hans Abendroth [Ryan Ruby]

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NOSTALGIA FOR THE FUTURE.— There will come a time when we will be nostalgic for the future, that is, for how we used to think the future would look.

The Zero and the One (Null und Eins), by Hans Abendroth  [Ryan Ruby]

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WORD MADE FLESH.— The relationship between thought and language is the relationship between a wound and its scar.

The Zero and the One (Null und Eins), by Hans Abendroth  [Ryan Ruby]

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THE MAN WITHOUT QUALITIES.— My father once threatened to disown me for questioning the existence of God, whilst my former colleagues at the university, knowing the subject of my research, accused me of indulging in metaphysics. I was insufficiently materialist for the taste of the communists I once knew, though liberals suspected me of being a fellow traveller. Amongst republicans I would argue for aristocratic values, just as amongst monarchists I would praise the general will. I have been called a fascist by an aesthete and a degenerate by a fascist. Where politics is concerned, to everyone I am something else and to no one am I anything in particular. Not that this at all troubles me. Only insects are easily pinned down.

The Zero and the One (Null und Eins), by Hans Abendroth  [Ryan Ruby]

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SYMPTOMS OF THE DISEASE PHILOSOPHY.— Philosophy does not begin in wonder. It begins in anxiety, with the disquieting suspicion that things are not how they should be and are not what they seem.

The Zero and the One (Null und Eins), by Hans Abendroth.  [Ryan Ruby]

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REPETITION.— If something happens once, it may as well have never happened at all. Unfortunately, nothing ever happens only once. Everything is repeated, even nothing.

The Zero and the One (Null und Eins), by Hans Abendroth  [Ryan Ruby]

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You go see Robin Williams do stand-up, and you can’t get more laughs than that. I’ve been on stage. I know what it feels like to have those waves of laughter. It’s like being bathed in love. Once you’ve had it, it’s like a drug. It wears off, and then you need something more. I want the audience to feel something more than that. I want them to feel my pain.

Harold Ramis interviewed by Judd Apatow, Sick in the Head.

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If you always want less, in words as well as things, you'll do well as a writer.

Jerry Seinfeld interviewed by Judd Apatow, Sick in the Head. 

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Judd: Do you feel like your act has changed in a substantial way? Has your work become more personal, now that you have kids? Jerry: No, it's just -you know, I'm still mud wrestling with a pig.

Jerry Seinfeld interviewed by Judd Apatow, Sick in the Head.

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We're going to be old for a long fucking time, dude.

Chris Rock interviewed by Judd Apatow, Sick in the Head.

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I didn't develop my personality, or my sense of humor, because I felt unattractive. I thought I was attractive until I got older.

Amy Schumer interviewed by Judd Apatow. Sick in the Head. 

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When you're testing a movie, if it's a comedy, you hear the laughs and you go, That scene works. But if it's a sad scene and you've watched it two hundred times, it's a little trickier to go, How did we do there? Did you feel something?  I wish there was a noise for feeling. Then I could go, Okay, they made the weird noise.

Judd Apatow, interviewed by Charlie Rose while doing a press tour with Adam Sandler for Funny People. Appears in Sick in the Head.

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I'm a desperate human being.

Jim Carrey in conversation with Judd Apatow and Ben Stiller for the tenth-anniversary release of The Cable Guy on video. Sick in the Head. Conversations About Life and Comedy, Judd Apatow.

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There comes that phase in life when, tired of losing, you decide to stop losing, then continue losing. Then you decide to really stop losing, and continue losing. Then losing goes on and on so long you begin to watch with curiosity, wondering how long can you go.

“Christmas”, In Persuasion Nation, George Saunders.