The truth is, anybody that becomes famous is an ass for a year and a half. You've got to give them a year and a half, two years. They are getting so much smoke blown, and their whole world gets so turned upside down, their responses become distorted. I give everybody a year or two to pull it together because, when it first happens, I know how it is.
Interpretation
Fame can distort a person's behavior and perspective, requiring time to adjust.
In this quote, Bill Murray reflects on the temporary transformation individuals undergo when they achieve fame. He suggests that the sudden influx of attention and adulation can lead to bewilderment and uncharacteristic behavior, and that this phase typically lasts around a year and a half to two years. Murray expresses understanding and patience towards those who are adjusting to their newfound status, recognizing that the pressures of fame can distort one's responses and perceptions.
In practice
During a speech about personal growth, one could mention Bill Murray's insight on fame and adjustment.
You know the theory of cell irritability? If you take an amoeba cell and poke it a thousand times, it will change and then re-form into its original shape. And then, the thousandth time you poke this amoeba, the cell will completely collapse and become nothing. That's kind of what it's like being famous. People say hi, how are you doing, and after the thousandth time, you just get angry; you really pop.
My first movie, I got nominated for a Canadian Oscar-for Meatballs. For MEATBALLS. And who am I up against? George C. Scott. So he wins the award and I stand up and go, 'That's it-let's get the hell outta here.'
There's definitely a lot of trash that comes with the prize of being famous. It's a nice gift, but there's a lot of wrapping and paper and junk to cut through. Back then, when a movie came out and people saw you on the street, their reaction was so supercharged that it was scary. It would frighten other people. It used to really rattle me. I mean, everybody would love to have their clothes torn off by a mob of girls, but being screamed at is different.
Like: 'Don't walk out there with one hand in your pocket unless there's somethin' in there you're going to bring out.' You gotta commit. You've gotta go out there and improvise and you've gotta be completely unafraid to die. You've got to be able to take a chance to die. And you have to die lots. You have to die all the time.
Friendship is so weird. You just pick a human you've met and you're like, 'Yep, I like this one,' and you just do stuff with them.
Golf was my first glimpse of comedy. I was a caddy when I was a kid. I was on the golf course rather than being in lessons, but I can play better now than I could then.
When a human being takes his life in depression, this is a natural death of spiritual causes. The modern barbarity of 'saving' the suicidal is based on a hair-raising misapprehension of the nature of existence.
Looking from the window at the fantastic light and colour of my glittering fairy-world of fact that holds no tenderness, no quietude, I long suddenly for peace, for understanding.
Suffering has a noble purpose: the evolution of consciousness and the burning up of the ego.
Awareness requires a rupture with the world we take for granted; then old categories of experience are called into question and revised.
What can a meaning outside my condition mean to me? I can understand only in human terms. What I touch, what resists me - that I understand. And these two certainties - my appetite for the absolute and for unity and the impossibility of reducing this world to a rational and reasonable principle - I also know that I cannot reconcile them. What other truth can I admit without lying, without bringing in a hope I lack and which means nothing within the limits of my conditions?
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