I never know what kind of people I'll meet just by stopping to take a photo.
I have never described the time I was in Doctor Who as anything except a kind of ecstatic success, but all the rest has been rather a muddle and a disappointment. Compared to Doctor Who, it has been an outrageous failure really - it's so boring.
I struck upon this kind of crazy idea that I was going to go to New York and stop 10,000 people on the streets and take their portrait and create kind of a photographic census of the city.
It's nice to go to small places where we had a lot of fans. They followed our career and it's kind of a way to say thank you to them and do it for a good cause.
I mean people up here aren't stupid, I'm lower gene pool and I kind of sit in amazement at watching some of them because they are pretty damn smart.
To be straight, I was kind of a dork, and in order to fulfill the creative fires burning inside me, I participated vigorously as a Civil War re-enactor through most of my teenage years, traveling across the country to participate in large scale reenactments - grandiose plays enacted by over weight history buffs and war enthusiasts alike.
The things that converge in the writing of a play come from a complex of motives, a genesis shrouded in a certain kind of mystery.
There's a kind of funny gap between 14 and 20 when young people don't read very much. Nobody really knows what to do about it, although we've tried to reach these dropout readers with the 'young adult' book.
I am beginning to suspect all elaborate and special systems of education. They seem to me to be built up on the supposition that every child is a kind of idiot who must be taught to think.
Pop is actually my least favorite kind of music, because it lacks real depth.
With 'Sherry,' we were looking for a sound. We wanted to make the kind of mark that, if the radio was playing one of our songs, you knew who it was immediately. But I didn't want to sing like that my whole life.
I've always wanted a C trumpet on top, to have that same kind of facility without shouting.
The majority of people in Angola were not provided with any kind of schooling and were completely illiterate, very badly paid, and treated almost as slaves.
Everyone in my family has some kind of artistic tendency. My great grandmother was a jewelry designer, and her daughter was a ceramic tile muralist.
You can feel better about yourself in a very short period of time depending on the kind of magic that you are doing.
That feeling of freedom, open highways of possibilities, has kind of been lost to materialism and marketing.
I have to live within my memories, within my private universe, and continually return to China, the land where my thoughts are locked. This is a very painful kind of existence, this feeling of nowhereness.
I did standup for a lot of years, too, but when you come out as a standup, you get the feeling from a crowd - it's a kind of a 'make me laugh' attitude. But when you come out as an improvisor, they realize that they're suggesting everything you do. So they're already invested in the scene, and they actually want it to work.
You don't go see Primus to see what kind of new clothing I'm wearing or what my new hairdo is. You come to see Primus for the musical experience and the visual experience. I think, anyways. Maybe I'm wrong!
I don't like to go out to parties or clubbing, and I kind of like my anonymity.
We don't to be some kind of rock supergroup for the sake of being a supergroup. You want to change things and say something fresh and new so you appeal to people as a new group.
I love Audrey Hepburn; I love those silhouettes and T-length skirts and stuff. They're just very classy. I like to mix that look with quirkiness, kind of like how Katy Perry has that quirkiness.
If I'd really known how hard I was going to have to work behind the scenes to have any kind of business, I think I would have stopped.
That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos.
I think I got an Instamatic camera when I was 8 years old, and ever since then, I've liked to record things. I don't know why. Maybe it's just to kind of try to leave some kind of record behind.
I think, over the years, I've kind of evolved.
There's too many actors in LA. I mean, I'll go out there from time to time, but I always find it pretty soul-destroying. I don't drive, and the people kind of rub me the wrong way. It's just not home. You know? It's not New York. It's not... my town.
And what I saw happening is that women don't make one decision to leave the workforce. They makes lots of little decisions really far in advance that kind of inevitably lead them there.
When I was on the ice, in the lights, with the music and the motion, there was a certain kind of flirtation that gave great energy and expressiveness to my performance.
I just kind of lived my life naturally and did what I wanted to do.
The kind of theater that I do is sort of 'narrative realism,' which I think in the broadest sense is legitimate to say is mainstream. I mean, in a certain sense, Suzan-Lori's plays have had mainstream levels of success. But Suzan-Lori is in some ways not a narrative realist.
I don't feel there's any kind of pain in my life.
I have an independent streak. You know, it's kind of hard to tell a independent woman what to do.
But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.
I've got two small kids. I want to make sure they grow up to be good people. Do they treat people well? Are they kind?
The thing I find really scary about ghosts and demons is that you don't really know what they are or where they are. They're not very well understood. You don't know what they want from you. So it's the kind of thing you don't even know how to defend yourself against. Anything that's unknown and mysterious is very scary.
