Reggie Watts Quotes

I cannot sit and think; books think for me.

I’ve learnt to listen. I don’t think I always did listen. Not just in plays, but in life. And you have to hear what people are saying before you can respond.

I'd like to think I am taking people on a journey; I am not just entertaining people, but giving them something to think about when they leave.

I suggest that an education and reading and facts aren't bad things on which to ponder a few notions.

I like any reaction I can get with my music. Just anything to get people to think.

Art is supposed to spark conversation and make people think.

A person who does not read cannot think. He may have good mental processes, but he has nothing to think about. You can feel for people or natural phenomena and react to them, but they are not ideas. You cannot think about them.

I am very interested in asking questions, and I am very interested in being involved in shows that ask people to think and feel.

I think I'm a reporter's editor. Being a good reporter is a specific skill, one I admire and don't possess myself - I appreciate people who know how to ask the right questions, who are excellent researchers, who know how to assemble information, and I enjoy working with them to shape their information into an article. Good reporters tend to be receptive to editing, and to a more collaborative form of writing in general, and you always end up learning more from how they work than you expect you will.

I like any reaction I can get with my music. Just anything to get people to think. I mean if you can get a whole room full of drunk, stoned people to actually wake up and think, you're doing something.

I also believe on a practical level, if you're taking time away from people, besides entertaining them, I think it's important that there's something to react to.

You want people to think. You want people to be emotionally moved. And there's a theory behind that in terms of storytelling. It has been around for thousands of years. And that's where something like live theater or a live performance is something that is very valuable because you get instant feedback from your audience and you kind of know the things that work and the things that don't work.

My goal in life is to make people think. If I do that, I've been a success.

It's always best not to be thinking a hell of a lot while you're acting, because you want it to be as spontaneous as possible, not too intellectual. Just behaving and listening to other people who you're doing scenes with. I always like the latter when it looks easy, even though it may not be.

The value of a story isn't that it just has a narcotic effect. It's that it awakens something in you that makes you want to think, that makes you talk to other people, that stirs something that makes you examine the story that eventually turns into self-examination.

Nothing frustrates me more than someone who reads something of mine or anyone else's and says, angrily, 'I don't buy it.' Why are they angry? Good writing does not succeed or fail on the strength of its ability to persuade. It succeeds or fails on the strength of its ability to engage you, to make you think, to give you a glimpse into someone else's head—even if in the end you conclude that someone else's head is not a place you'd really like to be.

I'd like the [Cosmos] series to be so visually stimulating that somebody who isn't even interested in the concepts will just watch for the effects. And I'd like people who are prepared to do some thinking to be really stimulated.

Fiction allows for moral questioning, but through the back door. Personally, I like books that make you think - books you're still wondering about three days after you finish them; books you hand to a friend and say "Read this, so we can talk about it."

With stand-up you meet almost constant rejection. You put yourself out there with your thoughts and your ideas, and you think they're funny, and you hope other people think they're funny too. The only way you're going to find out is when you do it and what the reaction is going to be. So if you're not prepared for that, if you're not willing to go along with that, it's going to be a rough road. But beyond stand-up, in terms of auditioning for acting roles, you don't get most of the roles you audition for - you get a precious few.

People don't just get upset. They contribute to their upsetness. They always have the power to think, and to think about their thinking, and to think about thinking about their thinking, which the goddamn dolphin, as far as we know, can't do. Therefore they have much greater ability to change themselves than any other animal has.

Don't look back, never look back. How often do people tell themselves that after an experience that is exceptionally good (or exceptionally bad?)? Often, I suppose. And the advice usually goes unheeded. Humans were built to look back; that's why we have tat swivel joint in our necks.

But there is more to a fine photograph than information. We are also seeking to present an image that arouses the curiosity of the viewer or that, best of all, provokes the viewer to think-to ask a question or simply to gaze in thoughtful wonder. We know that photographs inform people. We also know that photographs move people. The photograph that does both is the one we want to see and make. It is the kind of picture that makes you want to pick up your own camera again and go to work.

Some people write to please, to soothe, to console. Others to provoke, to challenge, to exasperate and infuriate. I've always found the second approach the more pleasing.

I think violence in movies, for it to work, you have to use it smartly. People get numb very fast. If you have too much violence in the beginning, it gets to a point where you don't feel it.

Nothing ought to be told, I think that does not interest or kindle one's own mind in looking back; it is the only condition on which one can hope to interest or kindle other minds.