I sort of understand why there is a brotherhood of Hamlets. It's a nice part of acting; you do get to be part of gangs.
In my humble opinion, preserving racial purity isn't a worthwhile goal. You should be able to date whomever, whenever, wherever without the threat of a backlash.
The joys of my life are my granddaughters. They are beautiful. You don't have to believe me. You can ask my wife. She'll tell you.
But everyone gets burnt, don't they? Certain things are outside of your control. I suppose the only thing you can learn as a director is to not put yourself into situations where it can get outside of your control. And that's what happened.
I think sometimes people project things on you, but I'm trying to handle everything that's happened to me with a certain amount of grace, dignity and good manners. You just can't necessarily win all the time.
If you do two versions of a film, they should be identical. With the same frames and settings.
You cannot isolate yourself from the crowd - even if you want to.
Typically in horror films the character just services the plot, and you really are just going from 'point a' to 'point b,' just so that you can end up at 'point c.' They are just sort of stick characters. That's just not interesting to me.
You can't choreograph death, but you can choreograph your funeral.
Painting is damned difficult - you always think you've got it, but you haven't.
An artist makes a painting, and nobody bugs him or her about it. It's just you and your painting. To me, that's the way it should be with film as well.
You know, after all these years, it's just like we are who we are and it's a struggle for me and sometimes I'm heavier and sometimes I'm thinner.
Not knowing the thing that's chasing you is a lot scarier than seeing it right in front of you.
L.A. hasn't changed me that much - I've not forgotten where I'm from, you know. And I need to find a haggis, but no-one seems to sell them over here.
I usually do films, and you do two months and then forget about it.
Remember where you came from.
Well, I think that Augusta is not the same golf course that I grew up on. Bobby Jones' philosophy was giving you space off the tee; if you put it in the right side of the fairway, you ended up getting the right angle to the green.
When you are going up the corporate ladder or the government ladder, you have to take some risk.
I'm not a writer. I think I can write short stories and poetry, but film writing, brilliant film writing, is a talent - you can't just do it like that.
With social media, with Instagram and selfies and all these apps that are trying to make you look perfect... it's hard for girls to grow up nowadays with all that stuff.
I draw all the time. Drawing is my backbone. I don't think a painter has to be able to draw, I just think that if you draw, you better draw well.
I don't think it's good to say that you won't do certain things, but I don't necessarily have the natural urge to write.
As a horn player, the greatest compliment one can get is when a person comes to you and says, 'I heard this saxophone on the radio the other day and I knew it was you. I don't know the song, but I know it was you on sax.'
There's something to be learned by listening and absorbing and watching before you start telling the people who have been there how to rearrange chairs.
I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.
You know, I was a nerdy kid going through high school, and then I got to college and that all vanished. I mean, a lot of my good friends - when we were in high school, we would never have been able to hang out together because we were in such different cliques or whatever. Now, who cares?
It takes about three times as long to explain to someone why you won't give them an autograph as it does to actually give them an autograph.
When you're used to being in the public eye, if you've got a disease, you've got to own up to it. It's about being about it, not running from it.
You have a plantation where you have 10 white people and you have about 50 or 60 black people. The automatic thought was, 'Why didn't they raise up? Why didn't they overpower? They had the numbers.' But really these people, their hope was broken. Their sense of love was broken. Their appreciation for who they were was broken.
Breathe. Let go. And remind yourself that this very moment is the only one you know you have for sure.
I like the busy-ness of office life. What I discovered, to my surprise, is that I love the solitary nature of writing. What happens is that you write when you're ready.
There are a lot of food Nazis in the U.S., but I believe if you can show people what's really important, they'll judge the rest for themselves.
Michigan has such grandiosity. It has all those all-Americans. You can't go anywhere without finding a Michigan graduate.
Writing anything as an expert is really poisonous to the writing process, because you lose the quality of discovery.
I think love can come fairly easily and grow - but really liking the core essence of someone is a much harder thing to bottle. If you have both, you're in pretty good shape.
If you can defend, counter-attack and take the initiative then you become a more dangerous player.
