There's a couple of movie parts that I can't remember. There was always something kind of lurking, because when 'The Office' started, I wasn't a regular. You're a guest star, so they don't really need you. They didn't say that, but I've seen the show - with or without me, it's still funny.
I'd love to do some bedtime stories for kids or that kind of thing. But with the demands of the shooting schedule and balancing the demands of being a single mother, it's a wonder you can squeeze in anything.
I think it's important to relax in general. I don't try to save up my relaxing for one month period of the year; it's kind of a daily practice that I've tried to remain aware of.
In the ancient world, taxes were paid in kind: landowners paid in crops or livestock; the landless paid with their labor. Taxing trade made medieval monarchs rich and funded the early-modern state.
A lot of the main characters in horror movies are outsiders as well, so that outsider syndrome reverberates within horror fans and geeky collectors. It's kind of a rallying call that brings fans and collectors together who are a little socially retarded, maybe.
I spent a lot of time with my teams, especially in the East Coast teams, talking about dealing with the elements a lot of time, and a lot of instruction about field position and those kind of things. I like that variable.
If I'm with my dad, yeah, he's going to talk a good bit about the business. He just kind of mentors me and tells me what he's thinking about my stuff.
The model I came up with in 1964 is just the invention of a rather strange sort of medium that looks the same in all directions and produces a kind of refraction that is a little bit more complicated than that of light in glass or water.
When you start one of these programs, school lunch programs, in a country that heretofore had nothing of that kind, immediately school enrollment jumps dramatically. Girls and boys get to the classroom with the promise of a good meal once a day.
My parents were very permissive when it came to animals. As long as we earned the money to buy them and built whatever structure it was they were going to live in, we could have any kind of pet we wanted. They would have let us have a rhinoceros if we could have afforded it.
My teammates would never say anything bad about me, even if they thought it. That's the kind of locker room we have.
The style I have in judo is very unique... One big advantage a judo player has is they have very good posture and - like, wrestlers, they show when they're about to do a take-down... which judo players don't, and so I kind of incorporate the boxing style with a judo grip and finishing that way.
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.'
In a movie, that's the only time when you're allowed these kind of fantasies to be lived. Being able to look so cool and be able to fight five bad guys and take them down. When can you do that?
I'm not the kind of writer that can write eight hours a day... I'm the kind of writer that the more time I have, the less efficient I am.
I was about 14 when I started with a theater group; it was like a stage group on the weekends alongside school. And it was run by a group of guys who'd been to drama school themselves in London. So they introduced us to techniques that they'd learn about, and they kind of informed us about improvisation and screenwriting and all of that stuff.
In an amusement park, you can go on a roller coaster that carries you up and down, or you can go on another kind of ride that whirls you around in a circle. Similarly, there are different sorts of entertaining experiences in the theater.
I remember, the first times watching WWF, Bret Hart was kind of the man, winning King of the Ring, technical master, and he could go for an hour. He had a million different moves he could beat anyone with. Just rugged, dynamic champion. He was so cool.
I'd like to do something dramatic or a different kind of role, but I tend not to separate comedy and drama all that much.
My life, my family and my friends are back in the U.K., so ideally I would love the kind of career that is split between London and New York.
I'm kind of a gypsy, so I love living out of a suitcase and going from place to place meeting people.
The world is not black and white; there are lots of shades of grey. There are good things and bad things in every era, and I think it's kind of very blindfolded to say one era was wonderful, as it was wonderful, but there were a lot of bad things as well.
The kind of leader and teammate that I was, at every stop I made, I was always honest with guys and honest with myself. I think that was the reason I grew to have the reputation I had in the league.
I was a Spanish dancer. I don't mean to put that down, because that was great, too, but nothing like the kind of dancing you had to do in 'West Side Story,' which was called jazz.
Music has always kind of been an escape for me.
I like doing the mainstream, right-down-the-pike broad comedies as much as I like doing the kind of unorthodox different stuff.
I'm in a position where I'm being continually knocked back for the kind of independent films I want to be in because people don't know who I am.
I feed on other people's creativity, photographers, artists of every kind. Sometimes a feeling that you get listening to a song can be so powerful. I've wanted to write whole scripts around what I felt just listening to a piece of music. I think music is important, and surrounding your visual field with stimulating things.
Talking to other people about a part is not helpful for me. It's such an internal and complicated and still kind of mysterious process.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
You kind of have to become a song so to speak and we wanted to make sure that Tom did them with the best abilities he had and captured all that what the song is all about.
I never played sports or got into the whole guy camaraderie of, like, 'I love you, man! Seniors forever!' So suddenly being in the military with these guys who were under these very heightened circumstances, isolated from their families, living this very kind of Greek lifestyle, it changed my life in a really big way.
We had 90 percent rates, but nobody paid them. And so you had all these exemptions, exclusions, shelters, all this kind of stuff. And that's why most Americans are saying, 'Look, let's just be honest. Let's have lower rates, but everybody pays them.'
When you're coming up in the business, there are so many people giving you advice and people prepping you for interviews: what to say, what not to say. When you don't know the business, you kind of take all that on and say, 'This is what I need to do, and I need to do what people tell me to do.'
I know when I am on stage and I'm kind of on the right track - hopefully most of the time. But a lot of time I'm not.
It may come as a surprise, but Frou Frou was really like a kind of little holiday from my own work. Guy and I, we have always worked together, and then over the years, it became clear that we wanted to do a whole album together. It was very organic and spontaneous - just one of those wonderful things that happens.
