I was incredibly nervous about doing a period drama. I thought that to play period, you had to be English-looking and blonde and very well spoken, and have gone to drama school.
I've had my nose in a book my whole life. I never thought it would be useful, but it is now. What's really nice is that I don't have a photographic memory, so words get blurred, thoughts get mixed up, and they come out as something new.
I saw some Pixar movies like 'The Incredibles' and thought, 'This is extraordinary. These are some of the best movies I've seen.'
While I always thought of making sequels to movies like 'Ghayal,' the filmmakers would almost always veto the idea.
I thought I was investing in myself and my brand, like Kim Kardashian. When she buys these clothes, she's investing in herself, because she is a big brand and is likable. I thought I had that potential. My ego got too big. To think I could be someone like that when I was the most hated girl ever.
When I was 11 years old, I thought, 'All I really wanna be able to do is my own comic book,' and I'm doing it. I don't have any other real ambitions. I have nothing to conquer at all.
I think it's true we look forward to enormous amounts of information, but I think we would be better off if we thought about the kinds of wisdom and thoughtfulness that we need in order to handle the amount of information ahead.
I only use a Chromebook now. I never thought I could do that, but I love it.
Words are the small change of thought.
I had lots of trouble in school as a child, and I lost confidence. Teachers thought I was stupid. I learned to read very late, when I was 11. Dyslexia wasn't recognized then, and the assumption was you were incapable of thinking.
We've always been a band that stood up for what we thought was right.
I always thought 'Rome' would change things for me, that people would finally understand what I do.
I just thought it made sense to call a book 'Not Garbage,' even though the majority of it was going to be the scraps from people's studios; like newspaper clippings, weird drawings and stuff they might not necessarily show as artists.
For some reason, people find me funny. It's quite hard to define why a thought is funny. It's even harder to define why a person would be funny. It's a word that I can't define at all. But whether I know quite what it is or not, I seem to be it.
The first two years I was on 'MADtv' were really, really fun. We always thought it was 'Saturday Night Live's very nice, slightly asthmatic, shorter cousin.
Writing is a very lonely occupation. To write you need to concentrate, to concentrate you need to lock yourself away. No distractions; you want your stream of thought uninterrupted.
I guess, for me, I've always thought that there was humor everywhere. And as a kid, I just, you know, I grew up an only child, and I - sort of nothing made me happier than to make my parents laugh. I remember I had costumes and things laying around the house that I was, you know, anything that I could do to make my parents laugh.
I thought I could see how standup worked. I never thought of being an actor - or anything else, really - but I thought, 'I can see how you get on stage and tell jokes.'
A long time ago, we had to build interfaces to connect with other companies, and I thought that was a great idea. The company had to pay a lot of money to build it and basically launched it, but our whole operating system almost broke. So, we couldn't continue it. In the end, I had to go on the train to Paris to explain that I had spent millions.
When I was 20, I thought anyone in the music business over 25 is past it. Then at 30, you think anyone still doing it at 35 is ridiculous. Suddenly, you find yourself at 48 and still doing it, so I don't know what to say, really.
I've always wanted to work for Walt Disney. That's what I thought I was going to do when I grew up.
You know the Einstein waves can be thought of as a distortion of space and time. But the way we see it, we see it as a distortion of space. And space is enormously stiff. You can't squish it; you can't change its dimensions so easily.
'Jack & Diane' was originally about race. I was playing nightclubs, and I was seeing new American couples, mixed-race couples. I thought it was cool. The song was my effort to make a song about that, but of course the record-company guy didn't like it.
People wouldn't know this about me, but I adore ball gowns. I love their cut, their architecture and the thought of the hands of so many seamstresses working on them.
The small amount of people that control the discourse around painting - I thought that the whole museum world was just a bunch of phonies, and I didn't really want to have anything to do with it. I guess I did installations, in a funny way, because they couldn't be commodified.
One of the things I thought a lot about was how can we get the views, for instance, the main plaza, you look up to Telegraph Hill from there and therefore it would be a disaster to close that view off.
I thought it was really funny that half the people I autographed things for said, 'Autograph the back of my phone.' I was like, 'What? Really? Seriously?' They didn't have anything else.
I watched a couple of films I was in and thought, 'Those are pretty close to what we wanted them to be. I feel actually weirdly OK with it all. I can still see flaws in what I'm doing, but I think I delivered. I think I improved the film with my presence.'
Germany has got to deal with its global responsibilities in a mature way. There has been insufficient thought to immigration law, and we need to differentiate between different kinds of migrants. There are valid refugees whose lives are at risk at home.
When I was at youth theatre and drama school, I never thought people would mistake me for a stand-up.
Right around 2004 when 'Ray' came out, I made a conscious decision to be more discerning because I thought to myself, 'After something like this, I really have to try to be strong enough to turn stuff down.'
I thought it would be my one and only exhibition, so I decided to call it My Major Retrospective.
My style is a little more thought out, in a way, but I guess it's eclectic at the same time. I wouldn't be able to describe my style, because it changes on a day-to-day basis, depending on what sort of mood I'm in.
Even before 'Moon,' I did a short film called 'Whistle,' and it had a lot of the things that I thought I would need to be able to do on a feature film: I shot on location, there was special FX work, there was stunt work, we used squibs, I shot on 35 mm film.
I was in Africa once. I was in Kenya. I got off the plane, and I thought, 'Africa...' Some guy in a dashiki said, 'Mr. Bundy. Oh my God, it's you.'
In my business - SAT tutoring - you get used to sighs. A client's mother frets over the sheer amount of work her daughter has to do to get her score up, until she reaches the resigned moment when she will sigh and observe that no one thought you could prepare for the SAT back when she took it - it was 'untutorable.'
