Quotes of All Topics . Occasions . Authors
I spent a summer in Texas when I was eight, in Fredericksburg, which is, like, real Texas. It's, like, cowboys and stuff. That was my first time in the States, and I was eight years old. It was also the first time I tasted Dr. Pepper, which blew my mind.
I think privacy is valuable. You don't have to share everything, and it's healthy to occasionally hit the pause button and ask yourself if you're oversharing. But at the end of the day, if you're not doing anything wrong, you don't have anything to hide.
My mum was raised Jewish, my dad is very scientifically minded, and my school was vaguely Christian. We sang hymns in school. I liked the hymns bit, but apart from that, I can take it or leave it. So I had lots of different influences when I was younger.
I think the key is that nothing's ever perfect and you've got to be able to go with change. It's a lot easier said then done because I especially like things very structured and I don't like change, but it's part of life; you've got to just deal with it.
I'd say the main way people get into terrible financial trouble is just to spend too much money relative to their income, and that is an endemic problem in the United States of America, and that's the kind of thing that should be taught about in schools.
I find myself enjoying a deeper love than I ever imagined was possible in the form of my daughter and certainly in the union with my wife. It makes everything else, including work, which is one of the things I'm most passionate about, pale by comparison.
I quoted David Hare one of his lines the other day to illuminate whatever point we were trying to make in the conversation, and I said 'What play was that?' and he said 'It was your line, you said it about a hundred and fifty times in The Vertical Hour.'
It's more than usually possible that I won't do a play again. But Skylight is one of the great plays in the English language. I was lucky enough to be a part of it at one point in its life, and it's a timely thing to deliver it again in the modern world.
I always loved asking everybody when I arrived in England, from the drivers who picked me up to the people at the hotel to people I met when I was walking in the park, almost everyone at some point would say, 'Everyone loves Ant & Dec!' From eight to 80.
I was in Ann Arbor, and I was told that this singer-songwriter guy wanted to meet me. It was Kurt Cobain. Nirvana had just made 'Bleach.' Kurt interviewed me on a college radio station. It was very strange. He was a fan of mine, and he gave me his album.
I know some of these guys who are in that stalkerazzi world, and you really have to separate them from the paparazzi in our industry. This is another breed. And they have their heroes who got the big scandalous shot, and which just promotes more of that.
I was raised by my mom. My dad was always traveling, but she allowed me and encouraged me to be close to my dad. So I grew up with three parents: my mom, my dad and my stepmom. Ninety percent of the time I was with my mom, and 10 percent was with my dad.
There are lots of different parts of movie-making that I participate in, but my favorite part is the making of it. I'm scared, every day. I keep thinking someone's going to throw me the ball and I'm going to go, "Oh, wow. Oh, god. I just messed that up."
I'm a film buff and I was keen to find out about the response to Daniel Craig's 007. 'Empire' and 'Hot Dog' had great reviews, and finally he's been accepted as the new Bond. So many millions go into that franchise that if you make a mistake, it's awful.
I'm fascinated with worlds where there's a small population left, whether it's a movie or these TV shows that fascinate me - 'Falling Skies' or 'The Walking Dead' - they are about survival and triumphing over difficult times. I just have a thing for 'em.
Movies are collaborative, and that's part of what makes it a great experience. They're different from a lot of other art forms, but also it makes it seem like when you see the final product, you go, "I wouldn't have done that. I wouldn't have done this."
Movies are collaborative, and that's part of what makes it a great experience. They're different from a lot of other art forms, but also it makes it seem like when you see the final product, you go, 'I wouldn't have done that. I wouldn't have done this.'
Don’t fight for slavery! Fight for liberty! [...] You, the people, have the power, the power to create machines, the power to create happiness! You, the people, have the power to make this life free and beautiful, to make this life a wonderful adventure.
It's not about the big deal you struck that day, it's not about the new car, it's not about the obvious stuff. It's about that little introspective moment you had in the middle of all that. Those are moments between the moments, and that's where life is.
Once you start altering your body's blueprint, things start falling apart. Some players take steroids, and two years later, after they've broken records, suddenly they have back problems, shoulder problems, arm problems. They're out of the game for good.
You'd think after thousands of years on this planet the human race would have released some kind of handbook for teenagers, telling them how to get through teenagehood and get help for their issues. Yet here we are, struggling through it in our own ways.
It seems like the studios are either making giant blockbusters, or really super-small indies. And the mid-level films I grew up on, like 'Back to the Future' and all those John Hughes movies, the studios aren't doing. It's hard to get them on their feet.
Well, I have a Norwegian father who emigrated to America in the 1950s, and he still speaks with varying degrees of an accent. Over my lifetime my ear has been well-tuned to that accent. Any first generation kid has that wonderful gift from their parents.
You couldn't pay me enough to be a law enforcement officer. Their job is a tough job. You have to solve people's problems, you have to baby-sit people, you have to always be doing this cat-and-mouse game with the bad guys. My respect for them is immense.
I think being able to age gracefully is a very important talent. It is too late for me. The horse is out of the barn... In past generations, people would try to play younger than they really are. My trick is, I don't try to play younger than I really am.
When I started at 'SNL,' I was lucky to start early. So now starting on 'Update,' I am the age when most people are when they start doing that. It feels like a different world and capacity, like starting over in another challenge. A heightened challenge.
I remember I was up for the role of Jim in 'Huck Finn,' and because I went to Harvard and Yale, they didn't think I would be able to play a slave. I said, 'Oh, please.' I had to go in there and prove to them that I wasn't too intelligent to play a slave.
There is a latent anger in a lot of people that went to boarding school at an early age. I was eight. And I loved it over the five years, but I think the adjustments for eight-year-olds are a lot. And I think it informs who you are for a long, long time.
Some of the most amazing stories are happening on the global scene. My extraordinary producing partner, Joslyn Barnes, she's just virtually changed my life with the way she constructed this company and how we go about telling the stories we want to tell.
I was a member of the Black Student Union, part of the central committee at San Francisco State. During the 1968 strike there, I was certainly very much involved in the activities that occurred on campus. It was part of an extraordinary period in my life
I'm not a comedian, I'm not a stand-up and I don't come from a comedy background. I am an actor, but I've had a very fortunate foray into comedy, and it seems to have become a bit of a strength, and you can't complain when you become known for something.
I wish I could go to the school where my close friends go, but I obviously can't. The good thing is, they're really good about inviting me to all the football games and all that stuff. So I end up having an adopted team spirit for a school I don't go to.
I believe the path to a long career is to keep the audience guessing. Daniel Day Lewis is my absolute hero from that point of view. I literally will pay to see anything he does because I know it's going to be something different than I have already seen.
I pray that you all put your shoes way under the bed at night so that you gotta get on your knees in the morning to find them. And while you're down there thank God for grace and mercy and understanding. We all fall short of the glory, we all got plenty.
[Russel Crowe] has been through a lot and had a lot of success. No one knew who he was when I worked with him 12 years ago. He's just come off a great film in Australia- Romper Stomper - and so it was good to see him again. Obviously, I'd seen him since.
I was surprised I was nominated for an Oscar because 'Cocoon' was such an ensemble picture. But now I'm certain it wasn't only for 'Cocoon.' It was a lifetime award, so I accepted it in that vein, and it probably meant more from a recognition standpoint.
Whether I'm acting or making it, at the end of the day it's telling the story; action, drama. You want the audience to feel it - the story, the action, the scene, or a particular shot. I just keep working on crafting my art, on how to make action movies.
Going over to Lesvos in Greece and meeting some of these poor refugees who have just made the treacherous sea crossing opened my eyes in a way I can't even being to describe. It's put a fire in my belly to really try to do something, the little I can do.
Maybe the memory does play tricks. Increasingly, I'm thinking, 'What was their name? I knew that name yesterday.' I think that's what happens. At some point, I'll forget that I ever worked with Peter Cook, I suppose, and Alan Bennett and Jonathan Miller.
I grew up where, when a door closed, a window didn't open. The only thing I had was cracks. I'd do everything to get through those cracks - scratch, claw, bite, push, bleed. Now the opportunity is here. The door is wide open, and it's as big as a garage.
Listen, acting is not surgery, it's entertainment. You're doing something to hopefully move people, to make them laugh, to transport them. But actors are vulnerable, and the reason we're vulnerable is that we're always trying to recreate human behaviour.
'Wonder Showzen' is one of my favorite shows of all time. When I first saw it, I thought it was so funny and new and original and edgy and insane and subversive. I didn't know comedy could do that. It redefined what I thought you could do with a TV show.
My perfect day is constantly changing. Right now, it would be to lie around in a hammock reading with a portable phone and a table of food next to it. I would spend all day there. And that's all that I can possibly come up with on the spur of the moment.
We hear a lot in this country about family, and 'American Family' just shows us a portrait we haven't seen as much of yet. 'American Family' lets us know that being American isn't about the color of your hair or eyes or skin: it's really a state of mind.
You can't plan your character arc - you have a vague idea, maybe, but I'm constantly surprised. Sometimes actors in films will play the ending of the movie, or even the middle, and you know where it's going - as an audience member you can read the actor.
From the early days of the Raj, Shakespeare had been woven into the fabric of India's education, and my father understood that in a culture rich with storytelling and fantastical tales, Shakespeare's characters and storylines resonated in a powerful way.
When the Beatles came in, I really concentrated on making a lot of movies. Those beach films that we did were a lot fun. They hit with an audience that related to what we were trying to do on the screen. That kept me going all through that Beatle period.
On screen, Gene Wilder could often be summed up as an accident waiting to happen, that frizzy, flyaway hair, the eyes darting this way and that and then something would set him off, Zero Mostel, say, in the movie that made Wilder a star, "The Producers."
If you’re famous, I don’t — for the life of me — I don’t understand why any famous person would ever be on Twitter. Why on God’s green earth would you be on Twitter? Because first of all, the worst thing you can do is make yourself more available, right?
James Cameron has always been one of my favorite filmmakers. The first 'Terminator' is such a phenomenal film. It's not just that, though - he's also a very interesting person, James Cameron. It's fascinating to talk to him about science and engineering.