I'm not all that big on rides. I sort of like bumper cars but I don't really go to Disneyland all that much unless if have nieces and nephews or people to take.
In Montreal, there is a friend of mine at school who is a jazz pianist with an amazing voice, and we sort of have this fusion/soul/R&B/folk music kind of thing. We've been keeping it low-key and opening for some friends.
My mother was gentle and warm. She was the sort of person you could really open up to. I was the eldest and her only boy, so I guess I was treated differently. She did bring me up as a Catholic, and at one time I was an altar boy, but I lost my faith, as did my father, when my mother died at 45.
That picture has become a sort of yardstick for everything else I've done.
He used to sit on my lap. I was sort of ambivalent about that. He was surviving any way he could.
Everyone takes surveys. Whoever makes a statement about human behavior has engaged in a survey of some sort.
If I can get the audience to connect with the characters emotionally - and they love who they are, they love the larger-than-life situation that they're in, but most of all get the audience invested in the characters - then I always feel like I can sort of put them in the most outrageous circumstances, and the audience is okay to go with that.
I figure you're only here for a matter of moments. Ever since I was a kid watching movies I've always wanted to make people laugh or have some sort of emotional reaction.
I don't read books on how to write screenplays just because I'm stubborn. So it's all sort of made up.
You get involved with a studio, and optional pictures and sequel options and that sort of thing are becoming part and parcel with the roles they're handing out.
Edinburgh is a sort of gothic fairytale city, and it can be a gothic horror city as well.
I am not the sort of person who divests myself of everything that came before I came to Australia. I want to take all the knowledge and experiences I gained when I was in England and put it at the service of Australia because I have to bring something to Australia - not just money but myself.
There is some group of Americans who are really, really curious to understand how we ended up at this point, where every week it seems like you can turn on your TV and see some sort of abuse being heaped on black people.
Child welfare ought really to cover all sorts of topics, such as better water and sanitation and good roads, and clean streets and public parks and playgrounds.
I haven't written anything in four years. I'm sort of dried up.
So much of my writing derives from these questions that I ask myself - things that are utterly beyond my personal set of experiences - and it's my attempt to try to... understand, to sort of break out of my own consciousness, you know, the limitations of my own life.
In a movie that's sort of a single monster movie, like 'Jaws,' once you see the animal, it identifies the threat, and you're able to start working on ways to take down the threat.
Despite the metadata attached to each tweet, and despite trails of retweets and 'favorite' tweets, the Twitter corpus lacks the latticework of hyperlinks that makes Google's algorithms so potent. Twitter's famous hashtags - #sandyhook or #fiscalcliff or #girls - are the crudest sort of signposts, not much help for smart searching.
It's a diabolical business. I can't imagine how hellish it must be to be hounded like Amy Winehouse and people like that. I have a little peripheral place on the outskirts of celebrity, when I go to premieres and that sort of stuff, which is as close as I want to get.
Irish poets, learn your trade, sing whatever is well made, scorn the sort now growing up all out of shape from toe to top.
I'm older. There's some sort of seniority. As a matter of fact, the seniority ebbs as you get older.
The whole 'R' rating depends on a strange sort of fantasy land where all adults are responsible people, and children only ever go to the cinema with their parents.
To play a lawyer and have one year of law school under your belt, you sort of know what you're talking about! I'm able to memorize the legal courtroom stuff a lot faster than I would have been able to otherwise.
I think if you ask people why they watch me, there would be some common thread among all of them that I'm somewhat of an awkward older sister. I have a teen, mostly female demographic. How that happened, I don't know. But I think they see me as some sort of bizarre role model, and I'll keep trying to do that for them.
Going from someone playing 15-people venues to performing at the Grammys, it was this giant leap and sort of showed me it was possible with what I wanted to do and the kind of music I wanted to write and artist I want to be to impact a lot of people.
I'm kind of a reluctant Anglophile. My mother's a children's librarian, and all of the children's literature I read was from her childhood - E. Nesbit and Dickens, which isn't children's literature at all, but I was sort of steeped in English literature. I thought I was of that world.
The whole 1960s thing was a ten-year running party, which was lovely. It started at the end of the 1950s and sort of faded a bit when it became muddled with flower power. It was marvelous.
If you're mostly a writer - if your point of departure is writing something - which for a writer/director is sort of where you start, you're really influenced by the writers you love one way or another.
My graffiti really comes more from a May '68, sort of Situationist vibe than the hip-hop world. I think a real graffiti artist would find me a poser.
I would call it a comedy variety show. We have some people just doing straight standup. We usually try to have one musical act of sort. So its just people being funny in different ways, not just sketch, not just standup, not just characters, all of those things.
I've always said fantasy is sort of 'stealth philosophy'.
At some point, I would like to write a book and other things, but I work best when there is some sort of deadline in my own mind, but not when fifty people or fifty million people are breathing down the back of my neck.
Of course my family and friends are incredibly valuable to me. They keep me sane, they teach me things and I love spending time with them. I think that ranking what you value is a sort of western and linear way of looking at things.
There are all sorts of reasons why I don't do much work in the theatre, the main one being that after two performances I feel I've given all I can. I hate repetition, I really do. It's like asking a painter to paint he same picture every day of his life.
If you have to tell a story without speaking, it's sort of like - I come from a dance background, so it's like a ballet where you have to tell a story with just your body. I think that's really interesting to have to tell a story with just your face and your mannerisms, and I'd like to tap into that world.
To be a pleasant person, you would at least need to see the point of being a pleasant person, or have it explained to you at some sort of 'finishing school' where you could actually learn the laws of propriety and the skills of appearing well-adapted, easygoing and attractively trouble free. But where do you learn these things? I don't know.
