After 'The Real Thing,' I thought about giving up acting because it's difficult to have a rich life outside your work when you're an actress, a private life that can survive being picked up and put down. That's what I thought, anyway.
I actually never thought that Barack Obama was anything but a typical Democratic party politician, which to me meant that he was probably in bed with Wall Street.
I thought if I lost the band, I was dead. If I didn't stick with the Who, I would be a sheet metal worker for the rest of my life.
I used to think that I could be successful if I pretended to be a 23-year-old black woman. I wanted to find a young black woman who would be willing to go in on this with me. I would write her novels, and then she would do the touring. I always thought I was too old and the wrong color.
I was born in North Carolina but moved to a suburb just outside of Philadelphia when I was 5, so mostly grew up there. I decided I wanted to become an actor when I was 8 years old. I literally heard a friend on the playground bragging about how he was taking acting classes and thought, 'Oh! That's what I'm supposed to be doing!'
When I was young, I thought Kim il-Sung or Kim Jong-il is hero.
I began photographing in 1946. Before that, I was a painter and drawer, with my mother and father's support. They were a bit pissed when I went into photography. They thought photographers were guys who took pictures at weddings.
When I grew up, I thought I was Jewish. Now I don't consider myself Jewish. I consider myself a Kabbalist.
I was looking forward my whole career to once playing somewhere else to get the experience, and if I thought about moving to England, I always had Manchester United in my head.
I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.
I went 59.9 sec. when I was 18 and thought, 'Hmm, that was fast - let's see how much faster we can go and what the rest of the world can do to keep up.'
I thought that the older I got, that partying would change - and it has - in the way that now I know how to party.
When I was a little kid, all I wanted to do was to escape what I thought was the country and get to a city. Probably film and television had influenced me so much, I really thought the key to happiness was living a very artificial life in a penthouse in New York with martini glasses.
I watched my parents act as completely equal partners in their relationship, and as a son to a woman I respect immensely, I never thought of gender inequality as a child.
With regard to robots, in the early days of robots people said, 'Oh, let's build a robot' and what's the first thought? You make a robot look like a human and do human things. That's so 1950s. We are so past that.
I've never revised my opinion of myself as an actor. I've always thought I was as good as my material.
'Smart', in American usage, is slicker and sharper than 'intelligent'; faster off the mark and quicker on its feet than deep thought.
The problem with being a journalist is you go places and you're working. You don't get to appreciate everything. But I got enough of a sampler of South Africa; I thought, 'I want to come here when I don't have to interview people for a living so that I can really enjoy it.' Because I think it was just a magnificent place.
When I was a kid, I thought movies just came from air. I thought they just appeared.
I loved dinosaurs, I loved space, and I thought maybe I'd be the first paleo-astronaut.
My teammates would never say anything bad about me, even if they thought it. That's the kind of locker room we have.
When I was really young, I loved the movie 'White Christmas' - I still do - and I thought Rosemary Clooney was so pretty. When I was, like, nine, I would tell people, 'You know who I kind of look like? Rosemary Clooney.'
At school, I'd refuse to take part in biology lessons when animals were being dissected. One time, the teacher announced that we would be gassing worms. So I ran around the room, gathered up all the worms and set them free in the fields. I just loved animals and couldn't bear the thought of them suffering.
I haven't really given much thought to the whole 'working mother' thing.
I'd always thought Cage's 'Root of an Unfocus' would be great in a movie.
I always thought, 'Will I go into the business, or will I not go into the business?' But when my father got arrested, I really didn't have a choice. I was the oldest son, and it was something that had to be done.
In Socrates' thought the two marks of individual self-consciousness appear; it is practical and it is social.
When I was kid, I remember playing 'Vogue' by Madonna over and over and over again. And ah, you know, something about the beat was really cool, and Madonna, visually, was on TV all the time and I thought she was just so beautiful.
But you know, as a kid I would have thought of a vegetarian as a wimp.
I remember seeing 'Snow White' and saying to my mother, 'Will there ever be a Chocolate Brown?' She said 'Probably. Why not?' I just never thought the first black princess would be me.
No, you don't have to start your play with a premise. You can start with a character or an incident, or even a simple thought. This thought or incident grows, and the story slowly unfolds itself. You have time to find your premise in the mass of your material later. The important thing is to find it.
Growing up in Holland, I always thought my name was boring, but in the U.S., all of a sudden I have a very cool name.
I never thought about the relationship of my mother, my family, to the content of my work.
With Freebass, there were no rules, really. It was all rather chaotic. Obviously, Hooky was playing the high end stuff, which he always does; Mani was doing the bottom end, and I thought I'd go midway and meet everyone in the middle.
When I first read the words 'introvert' and 'extrovert' when I was 10, I thought I was both.
I tend to see my characters from inside and outside at once; this is a technique I use to retain a slight distance. It means my characters can act in unexpected ways on two axes: physical and mental. It isn't just, 'I thought this and then I did this,' which is the technique of the modern psychological novel.
