Looking at 70 from 49, I don't see it slowing me down. Maybe I'll need a nap during the day! I'm thinking when I'm 85 I'll settle down a bit. But I'm going to fight, kicking and screaming, every step of the way.
Nothing fires me up like losing. It certainly makes you want to go that extra bit.
Having started in theatre, for a long time I wanted to be a classical actress. But I've always loved making people laugh - at school, I was quite mischievous, and bit by bit, I found myself working more and more in comedy.
When people stare at you, and you read about yourself in papers - at 13, it just got very confusing. I thought that if this is what it's like to be famous, I don't like it one bit.
I don't get it when you get so much openness about the way movies are made, and the special effects and the behind-the-scenes stuff and all of that. I can't help but feel like this reduces it a little bit.
When I saw the scene in 'Close Encounters,' and Richard Dreyfuss's son is screaming at him - that's a heartbreaking scene. And I remember being devastated by 'E.T.' Or when E.T. started to get sick. That broke me up a little bit.
Actually, I think I'm part of the last generation to grow up believing in magic and fairies and believing I had powers - you know, lying on the ground and trying to have my spirit leave my body - which never happened; still working on that bit.
I've always written a little bit. I mean, I've written screenplays, and I've doctored my dialogue for years, and I've written speeches - I was a speechwriter on 'The West Wing,' so I like that kind of thing. But I never really thought I'd write a book.
There's an appetite for vigour in films. The camera loves a bit of movement. Movement is usually attached to younger people and men, and that's just the way it is. I think that it's a bitter pill to swallow, but it's a fact that there aren't going to be masses and masses of roles for older women because there isn't the audience for it.
Wherever you repress people, they get hold of a crayon and a bit of scrap paper, and they chronicle their lives and their existence and their history.
You do have to be a bit careful with your voice. It is an instrument.
Guys are not good under pressure. They're just not good at multitasking, but on that note, we should be a bit less good at enabling them to, you know? That's a problem.
I do sing a bit, a solo called 'Rubies,' and the female vocals on 'In Paradisum,' 'The Sound of Silence,' and 'Sapphire Clouds'.
You can watch a little bit of war from your nice living room - 30 seconds of what's going on in Syria - and when you've had enough, switch over to some celebrity programme. We live our life through screens and images in this way, and we don't know what is real or fake anymore. It doesn't matter.
I became a script writer with absolutely no idea of how to write a script whatsoever. I still feel a bit of an outsider in that regard. If I can maintain that approach to screenwriting, it can continue to be enjoyable.
I don't think that when I'm acting I feel like I lose myself to it, but that sense of losing, that sense of discomfort, well, I guess maybe that comes a bit! It's about redefining what 'uncomfortable' means for you.
If you are going to be serving a living thing, you have to honor that living thing with some kind of care and thought and preparation to rationalize the taking of that life in some way. Where if you're just grinding up hamburger at McDonald's, I see that as a bit of an affront to living things.
I was a not-big-enough, not-fast-enough football player who wanted a little bit of an edge on the field. I figured my own sweat, if I could get that off my body, and more importantly, the weight that stood behind it, that would help.
It annoys me when people can't differentiate between the character and the actor, which is a little bit silly.
Being published is a bit like being entered into a race you don't even want to run, but, once running, can't help but not want to lose.
It was right after I dropped the song 'Don't,' and it started to go viral a little bit. That's when I was like, 'Alright, I might have something here.' Actually, I wasn't even going to quit my job, but Timbaland called me - we have a mutual friend - and he was like, 'Yo man, you need to work in Miami.'
I'm a rapper and, obviously, hip hop rap is my main thing. But I also like to dive into different genres and kind of be a bit more experimental and open myself up a bit, whether that's taking influence from jazz or soul or electronic.
There's no black and white in this world; it's all grey. That's what people are like! No one think they're a baddie. Everyone thinks they're trying to do their bit to make the world a better place.
I've always felt writing a song was a bit like going on location. That's true in an almost literal sense. Where you are seeps in somehow.
I work out two or three times a week, whether it be a run or a workout class, a hike... I really try and mix it up a little bit so that it keeps me interested. I have a gym in my house, so if all else fails, I'll get on the running machine and book a movie or some crappy reality TV and just zone out.
You do need money to make a good demo; you do need a bit of financial support.
I've always been a bit of a mix between art and technology. I used to paint a lot, but I'm not very good with my hands. It has always been a fusion between my computer gaming interests and being exposed to the rich data of society that we live in.
'The Virginian' has a very important romantic story line that you don't find in a lot of Westerns... At the heart of the story is quite a bit of pain and a sense of loss.
Men are every bit as gendered as women.
Also, most people read fiction as an escape - and I wonder whether my books aren't a bit too grounded in reality to reach the widest possible audience.
I've seen a fair bit of the States and the rest of the world, and I'm convinced that there's nowhere I'd be happier, there's nowhere I'm missing out on because I'm in N.Y.
This may sound mad, but you sort of assume that no one's going to watch what you do. You go on set, have a lovely time, and then you forget anyone's going to see it. So it's always a bit of a shock to be recognized. I get terribly embarrassed.
My name is Lithuanian. My father was born there, and he gave me a cool name. It's the Lithuanian national flower - looks like a weed, a little bit like me! - although in Spanish it means a 'route' or 'road,' and in Swedish it means 'square'. So, not quite so cool in those countries.
Mum decided that I could sing a bit, so she put me in a choir, which I hated, and it was just a nightmare. I was a rebellious sort of choirboy.
As a model, I really stand for not being a model, if that makes sense. When I started, the whole idea of the model was very different; it was a bit stuck-up. Not stuck-up, but no one was trying to have fun, or not even have fun, but be willing to smile.
I think, with my cartoons, the parent-like figures are kind of my own archeypes of parents, and they're taken a little bit from my parents and other people's parents, and parents I have read about, and parents I dreamed about, and parents that I made up.
