I have a fondness for writing about precocious, troubled teenagers, who are alienating, but kind of endearing. It's from remembering so clearly that time in my own life. I experienced myself as more dramatically troubled than I was, but I just remember how it felt.
I don't take care of myself at all. I've no idea why I'm not a fat bloater. I eat everything and anything. I never cook and just eat take-outs.
It's like, 'You're not allowed to change. That's not fair. We like you like this.' But I don't. So let me expand and express myself.
SOLOSHOT is such a brilliant idea and an athlete's dream. It has given me the ability to film myself training without anyone's help - it's perfect because I can go to the beach, set up my SOLOSHOT, and not have to rely on anyone to stand there and film me from the beach for hours.
I am very happy because I have loved the world and not myself.
Even though running is work for me, I always miss it if I take a break. A lot of people find running relaxing, but I can never switch off from timing and competing against myself.
I'm proud of 'Fifty Shades of Grey.' I don't need to distance myself from that. The more work I do, the more the general public sees the different things I can do. Do I think it opened doors? Yeah. More people know my name.
I am a normal guy from the Black Forest, and I do not compare myself with the geniuses.
I was just a kid and I didn't have a dad. That's hard, because when you're a kid, you blame yourself for everything. And I blamed myself for him not being around, for my parents not being together.
Like everyone else in this world, I have had struggles. There's disappointment and obstacles in everybody's life. I feel like I was writing 'Second Chance' not just for myself, but also for the people who have struggled.
I don't think of myself as anyone special, and I would not know how to define myself.
There's an old saying that you don't ever finish a movie, you abandon it, and I really believe that. I never walk away from a take and pat myself on the back.
Basically, I see myself as a maker of things who knows how to support other makers of things. At the end of the day, I am just committed to helping put good stories out into the world in whatever role is appropriate and needed for that particular project.
I invite all those who share my anxiety about, and hopes for, the future, and who burn with the desire for a political rebirth, to enlist with us. And addressing myself especially to the young, I invite them to become the vanguard in this sortie of national reconstruction. For a proud and happy Greece!
I do consider myself as being French, I suppose.
I treated myself to a £700 Chloe bag after one of my first acting jobs. Then my friends pointed out that, for the same money, I could buy a flight to India. So I took it back.
If I like dubstep and electronic, why don't I make the violin fit me rather than making myself fit the violin?
I don't do sessions for myself ever. I'm always working, writing for pop sessions. And what happens is that sometimes I like a song so much, I keep it for myself.
Winning a gold medal is not easy but I believed in myself, especially over the last four years.
I would say I've actually done a lot more comedy than I've done drama. It's weird the way that worked out, because when I came out of theater school I took myself way too seriously, so it's kind of ironic that I ended up sort of going down the comedy path.
It was always important to me to be confident and strong with myself. It didn't happen overnight, but I've learned that the only way you can start to control things is if you feel a certain way about yourself.
I'm so hard on myself and a really harsh critic of my work.
My motivation is paying the mortgage. No joke. Honestly. I still suffer with nerves and think, 'Why am I putting myself through this torture?' It's not actually the love of winning - it's that building of a partnership with a horse. Just riding horses every day keeps me going. And that threat of losing the mortgage.
I've had a very full and lovely career so far, and I can't honestly say that I've ever really found myself in a man's world, struggling for an identity or trying to prove something.
I never judge myself according to the expectations of others. I judge myself by the jobs I've been given over the years and by the extent to which I succeeded in those jobs.
My older brother was a musical prodigy, and he got a scholarship to the Bronx House Music School. We moved to the Bronx when I was 4 to be close to his music school. Then I got a music scholarship myself, at the age of 6, but that was for a school down in Greenwich Village. I had to take the elevated train and then the subway to get there.
'Orphans' reflects unconscious elements in myself that were, at the time, indigestible and butting up against each other in my psyche; issues I wasn't really in touch with but was trying to put into a dramatic framework.
I was sort of shocked when it all of a sudden turned out that I got all A's through college, with the exception of two B's in the first term. I never envisaged myself as summa cum laude.
A person can do a lot of reading and research as I have done. I went to Spain and spent a whole summer there with my family, immersing myself in the culture. But all that isn't really necessary to experience the music.
I would say critically of myself that I am somebody without secrets. Sometimes acting depends on you having a secret. I don't think I've ever had that.
I always worked pretty steadily. But maybe out of some kind of fear, I put the brakes on letting myself be as successful as I'd like to be. More and more, I've taken the brakes off and let whatever happens happen.
I'm an athlete; I've got an ego when stunt doubles have to come in. Not an ego like that, but when it comes to physical stuff, if I didn't have to have a stunt double, I would always probably do it myself unless the producers were jumping in and stopping me.
I've never held myself up particularly high when I had movies that worked, and I never held myself all that low when I had failures.
Over the years, during television interviews, whenever the host or the reviewer or whoever gets cynical and nasty with me, I will behave accordingly. I will defend myself.
I can enjoy myself and express myself in the ring.
In 1980 I sent a play, 'Jitney,' to the Playwrights' Center in Minneapolis, won a Jerome Fellowship, and found myself sitting in a room with sixteen playwrights. I remember looking around and thinking that since I was sitting there, I must be a playwright, too.
