I think the crucial thing in the writing career is to find what you want to do and how you fit in. What somebody else does is of no concern whatever except as an interesting variation.
Somebody's real voice is probably the hardest one that somebody could attempt.
Do not tell somebody how to vote, just go up to them and tell them what Fahrenheit 9/11 meant to you. Fahrenheit will probably not win an Academy Award, but if you put it first on your list, it will become a nominee.
Somebody once said I had a face for radio and a voice for newspapers.
The first thing, when I got the money, I knew I would support somebody. And the person I supported was my family. Because we were really in debt with the money. And - so I gave to my father this suitcase full of money. And he couldn't believe it. And that was something very special.
One way of watering down the effects of violence is to approach it in a more lighthearted way. I don't mean to say that you laugh when somebody has their arm sawn off, but you can diffuse fear with humour.
To get to be somebody who gets to love what they do for a living, that's so rare, and so there must be some kind of price you have to pay.
When you're collaborating with somebody, there has to be a spirit of cooperation. There are a lot of times when you just can't persuade someone to write a certain type of song, either musically or lyrically.
I was doing all these hand exercises, trying to move things like other kids, catch things like other kids, and change my reflexes, and I guess I just didn't stop. That's why if somebody says to me, 'Can I learn this?' I will say, 'Probably, if you can get the psychology right.'
By the time you do what somebody else is doing, everybody has moved on to something else.
I know America is very nice and very good people. I'm a professional athlete. I come here. I never have a problem with somebody about my religion, about my name. I am happy. I'm always comfortable because I never do anything wrong. All the time I do something right. I follow all the rules.
I'm not somebody who is genetically gifted when it comes to facial hair.
'You're fired' was not a part of the deal. And when I went into the first board room, the very first one, I'm looking at these people, and I had to fire somebody, but we never thought in terms of the expression 'You're fired.'
If you want to get to know somebody you don't ask other people: 'How is she?' You talk to the person herself. And then you don't ask about facts like 'date of birth' or 'profession of parents.' but you talk about essential questions and themes in life.
The analyst's psyche operates as a kind of... something to hold on to while somebody's going through therapy, if they're deconstructing their own psyche, if that's cracking up in some way, or dissolving.
Somebody like Mailer brings to that role everything that he stands for. The types of characters that I gravitate towards, the types of icons, tend to have a heavy physicality in that way.
As much as the constitutional argument matters to me, what really matters to me is this sort of moral question of can we order somebody to risk their lives about a military mission if we're not willing to debate, vote, and say that the military mission matters?
Usually I'm the one asking somebody to do something because I don't know how to finish it. I'm like, 'Do this for me' because I'm just resistant to learning.
If you just give somebody a blank check without any deliverables associated with that, you're not going to get the improvements that you want to get.
I just heard a very funny story about somebody who died yesterday, I'm sorry to say so but it was so absurd that you can't help laughing. And the person that was concerned about that story was laughing too.
Success is like winning the sweepstakes or getting killed in an automobile crash. It always happens to somebody else.
An artist is somebody who produces things that people don't need to have.
You can't go around chasing your own plays and showing up every time somebody does one somewhere. You just cross your fingers and hope that they're OK.
You hit somebody with your fist and not with your fingers spread.
For me, the greatest fault would be to tell somebody something I'm not.
I'm somebody who deserves to be supported and encouraged to continue my work because I have a lot to give.
I wanted to be just a normal girl flirting with a normal guy. It's like, you meet people, and they know this stuff about you. It's why you want to meet somebody who's in the same business, only because they understand more. But you don't necessarily want to be with another actor.
A friend of mine has a big farm in the desert, and she picks up feathers and roadkill for me, then makes it into clothes. I think it's cool to wear roadkill. If I died and somebody wanted to wear my teeth around their neck to VMAs, I'd feel honored.
For example, I wouldn't hesitate to sit somebody down if he wasn't performing, even if he was the No. 1 player in the world. I've been sat down before.
One morning, about four o'clock, I was driving my car just about as fast as I could. I thought, Why am I out this time of night? I was miserable, and it came to me: I'm falling in love with somebody I have no right to fall in love with.
It's hard being a hostage in somebody else's mouth - or a character in somebody else's novel.
The trick is not to become somebody else. You become somebody else when you're in front of a camera or when you're on stage. There are some people who carry it all the time. That, to me, is not acting.
Everywhere I go, somebody is staring at me, I don't know if people are staring because they recognize me or because they think I'm a weirdo.
I have a husband and children, and it affects me deeply that somebody could be taken away in a second.
What people forget is that every movie that gets made keeps making money for somebody FOREVER.
You just watch somebody you love slowly, slowly disappear and go away.
