I’m a micro-celebrity, about as small a celebrity as you can be.
The majority of short term trading results are just random. In the long term the money ends up with those that can trade and manage risk.
The best traders I know are also the most humble people I know, coincidence? Or has the market taught them some very valuable lessons?
I’m officially near-famous. If you’ve got four year old kids and you’ve got cable, then you’ve got no choice but to know who I am. But if you’re one of my peers – a 26-year old guy who lives in Manhattan – you have no idea who I am. I’m only famous if you’re four.
When I was a kid, my mom used to run the vacuum cleaner, and the noise would bother me so much that I would run into the woods to calm down. I feel like that vacuum cleaner has been on since I moved to New York City.
The idea of the show is that it’s active and that children will become involved and watch the show, but also participate in the show. And I didn’t know if that would work.
And I think that if I were a for real celebrity that was recognizable everywhere, I’d just crawl under a rock and you know, have someone run over the rock with a car, or something.
I’m not supposed to talk about the snail. The snail is, well, congratulations to whoever noticed it. It’s supposed to be a thing where you gotta look for it in every episode, and it’s there three times in every episode.
Eat as much as you like-just don’t swallow it.
Much of our trading comes down to a battle between our patience and our impulses.
The best traders are simply slaves to the market’s price action.
The ones who make it, are the ones who manage risk.
When I was 14 I would pick up my brother’s bass guitar, and I would just pound on it, having no idea how to play it.
Well, my aspirations certainly were not to be in a pre-school show. I mean, it’s certainly nothing that I considered; it’s nothing I ever thought anyone would ever let me do.
Please don’t make me sound like a crazy hermit, but I don’t like crowds or noise.
My fantasy for children’s television is that it’s not really children’s television, it’s everybody’s television.
Acting on a blue screen is awful.
If we want parents to be discerning about what children are watching then we need to put stuff in there for them to watch, too.
We go through, I think, six different drafts of each script. And then my shooting it is roughly, you know, fifteen percent of the total work that gets done on a show. Then it’s all post-production animation after that.
I just don’t think it’s true that people can’t do something else after they’ve done something that seems so permanent.