I've never had to pretend to be having sex with somebody. I'm like the queen of the foreplay dissolve.
I'm very quiet. In the beginning, my brother would play the piano, and I would sing, because that's what my mom and dad did. And then along the way, somebody teased me for even thinking that I could get up there. That stayed with me, and I became very shy.
If somebody has a better idea than me, I'll take it if it surpasses what we have on the page because at the end of the day, it's me that takes the credit anyway!
Life is short, and, once somebody is gone, they're gone.
They changed the floor back to old school. They changed the uniform back to old school. Somebody tell the damn players to start playing like old school.
If they're working in a workshop somewhere, where there is, let's say, uh... only twenty people, or something like that, that's still, when they work and do a scene, that's still working in front of somebody.
I'm not a trend person. I don't want to look to my right and see somebody in the same thing.
And I remember how proud I was to put on my training jersey and go out on the field. Making it back to that environment was for me my greatest moment, because somebody had told me I couldn't do it and I never gave up on myself, the game and my teammates.
'Crash' was incredibly personal to me. So was 'In the Valley of Elah.' There were things in 'The Next Three Days' that were questions I was asking myself but couldn't answer, like how far would you go for love? Can you believe in somebody who can't even believe in themselves? But this is highly personal.
I tell people I'm a stand-up comedian two hours a week. The rest of the time, I'm somebody's husband, I'm somebody's father. I'm a man. I take great pride in that.
For me it's also - the music is equally as important. I mean I think as somebody who writes music, there just has to sort of be the marriage between both.
You just never give up, no matter how hard the challenges are, and observe this world with a healthy dose of criticism and don't just follow the herd like somebody else might do.
When cellphones came out, my girlfriend refused to get one for five years, because she thought it would turn her into somebody who couldn't connect with other people - and, of course, she got a cellphone.
You can lose people without them dying, and I have, from moving, from traveling. The emotion is real, it just doesn't actually have to do with death. I'm singing about what I know, and it's a song about longing for somebody who's disappeared in your life.
I just don't want people to think I'm too sweet of a boy; and little miss angel boy, because I'm going to get caught doing somebody horrible.
To me, the whole idea of fame and I think it can be a real test of somebody, of who they are. You know, 'cause some strange things happen. I've seen some peculiar things as far as a person just living their life.
Most fears are basic: fear of the dark, fear of going down in the basement, fear of weird sounds, fear that somebody is waiting for you in your closet. Those kinds of things stay with you no matter what age.
Lady Limelight is a jealous lady. She wants all of your attention. You don't have any time to think of anything else but Lady Limelight, because pretty soon that light will be shinning on somebody else. So you better do it while you can.
I can't always control my body the way I want to, and I can't control when I feel good or when I don't. I can control how clear my mind is. And I can control how willing I am to step up if somebody needs me.
I went for an outrageous form of expressing myself. It seemed to be a way that I could make my name and show that I was somebody.
I think the reason I'm an actor is the joy I find from escaping and going to be somebody else. That's what I have fun doing.
It's critical that the manager has the respect of players so he can make the moves that he feels is appropriate without having somebody go to the papers. They respect you. So you respect them back.
I approve designs not because I think I am more gifted or somebody who can see ahead three or four years from now, but just to make sure that the design is a logical, rational decision, taken after analyzing pros and cons.
I just heard a story from someone the other day where somebody was beaten up by Christians for wearing one of our shirts. Of course, that's a very Christian thing to do.
Someone will always hate what I say. There's always going to be somebody spitting blood about my wooden-faced, toffee-named, crappy acting.
When you look at Regis, he really and truly does feel for those people, and I feel like I've done it too. You're giving away somebody else's money so what do you care? It's not your money.
Taxes are not good things, but if you want services, somebody's got to pay for them so they're a necessary evil.
The best adaptations are the ones that really excavate the material. The movies that work are the ones in which somebody very smart figured out how to take all the thematic material, all the character material, all the filigree, all the beautiful writing and put it into a story.
The only thing that scares me in the tech area is that it moves so fast that you have to be ready to invest in 20 things. Because if you just invest in one, next week, somebody has a better mousetrap, and you get taken to the cleaners.
The energy in a comedy is very serious. Somebody said comedy is a tragedy plus time. When you have a tragedy, for example, like this, like, 'We're going to die,' and you have time, like, five hours to die, it becomes a comedy.
We can't let somebody rise to the top who will pardon these war criminals. Because they need to go to prison for what they've done in this world. We can't have a pardon. They need to pay for what they've done.
I write for somebody who has my own limitations. My reader has a certain difficulty with concentrating, which in my case comes from being a film viewer.
I could sit right here and have a 15-minute conversation with somebody and change their whole life.
There is no sense in doing a wonderful script with somebody who can't direct because that is a disaster.
The ability for somebody to put their arm out and get a taxi is fundamentally different then having a 10-minute pickup time. It just is.
You take a number of small steps which you believe are right, thinking maybe tomorrow somebody will treat this as a dangerous provocation. And then you wait. If there is no reaction, you take another step: courage is only an accumulation of small steps.
