[Billy's record makes #1 at Christmas; he gets a phone call] Billy Mack: Hello? Elton! Of course. Of, of course! Send an embarrassingly big car and I'll be there!
Sid Hudgens: Are you tight with the DA, Jackie? Jack Vincennes: Oh yeah, yeah, yeah. He tried to throw me off the force last Christmas as a little joke.
Jack Skellington: [singing] There's children throwing snowballs / instead of throwing heads / they're busy building toys / and absolutely no one's dead!
Jack Skellington: No, Zero. Down, boy... My, what a brilliant nose you have. The better to light my way! You're the head of the team, Zero!
Big Witch, W.W.D., Small Witch: Say it once, say it twice, take a chance and roll the dice. Ride with the moon in the dead of night.
Lock: [of Jack] There he is! Barrel: Alive! Shock: Just like we said! Mayor: [throws Jack a ladder] Grab ahold, my boy!
Mrs. Sheldrake: What is it, Jeff? Who's on the phone? J.D. Sheldrake: One of our employees had an accident. I don't know why they bother me with these things on Christmas day.
What is salvation without faith? is like a Christmas tree without a star, is like a kingdom without a king, is like a heart without a beat, is like a light switch that just won't turn on.
Ingredients for a terrific Christmas: Christ. Love for one another. Forgiveness. Generosity. Time. Music. Children’s laughter. Reminising with loved ones. Remembering those who are alone. The making of new memories.
It’s Christmas, and no matter what historical usage you choose to assign to “mass” be it mission or Lord’s Supper, Christ’s Mass refers to WHY he came, not THAT he came. Christ’s mission was to be a sacrifice.
It was a beautiful, clear Southern California kind of Christmas Eve, the kind where Santa shows up in khaki shorts and a Hawaiian shirt and shades, flashing a peace sign with one hand and sipping a Corona with the other.
It was just like a dream. I could have ended up with an album that's not all that different from anything else coming out of Nashville. Mutt made the difference. He took these songs, my attitude, my creativity, and colored them in a way that is uniqu...
I knew the full 'Judy Garland Carnegie Hall' double album set at age 2. And then my mother wondered why I was gay. I was like, 'Are you nuts? You would make me get on the table to sing Judy Garland songs and you're upset?'
The Germany I was enthused with was more old fashioned and kind of romantic. I just got there, and the next thing you know, I had this huge gilded album. It was kind of an amazing experience because I didn't intend it to be that way.
I thought I'd be a journalist, and only pursued acting intermittently while studying. My very first interview as a journalist was with David Usher of Moist, and he called the magazine the next day to say it was the best interview he'd done for his so...
The stage is the best experience in the world. It's a great compliment to be able to share the music, because people can hear my album but they don't get to make the connection in the same way as when it's one-to-one.
I'm rarely grabbed by anything the way I was when I was 10 years younger. About the only relatively new artists whose albums I own are Beck, and They Might Be Giants.
I don't care at all about the mainstream; I don't care about popularity contests; I don't care about who's got the biggest-selling album; and I don't care about glossy production.
Every album, I'm worried that I'm a dork and a fraud - 'What if I can't sing anymore?' Then I stop thinking and start playing guitar, and I realize that it's okay to suck, and move forward.
The first album was a very successful record. It made me very visible and it's an immediate association, but I don't do that anymore. Now I'm true to myself as an artist again. I'm more vocally oriented.
I couldn't get my album played over the so-called smooth jazz stations. Jazz stations would not play it. You don't always know who you're making that soul connection with.
