I've literally, in my entire life I've had two guys come up to me and ask me out. Other than that I have had to go and try to like spend time with them, or sort of start the conversation, basically like spell it out in a Sharpie, like, you know?
I get recognised, but I'm not the sort of person who frequents popular clubs. I try to keep out of that.
I went to art school, and I wanted to be an artist since I was 5. I basically moved to New York to do art, and I just sort of fell into doing music at an early age.
I never think of myself as any kind of sex symbol, but I get letters from all over, all sorts. It's really cool. I get a lot from inmates, which is kind of scary. But the best was the guy who wanted to send me a plane ticket to fly me to his prom.
I had an incredibly full life with my imagination: I used to have all sorts of trolls and things; I had a wonderful world around my toys and invented people. I don't mean I had imaginary friends; I just had this big imagination thing going on. I didn't need any imaginary friends, because I had so much other stuff going on.
Right before I start the putter back, I think about making solid contact. This brings your attention to the back of the ball and helps keep your head still at impact, which is a must. Many amateurs take a peek down the line too soon, and that can cause all sorts of mis-hits.
I'm a voracious reader, and I like to explore all sorts of writing without prejudice and without paying any attention to labels, conventions or silly critical fads.
Chicago is a sort of journalistic Yellowstone Park, offering haven to a last herd of fantastic bravos.
I was always excited about doing things with people that were ahead of their time, that were sort of out of sync with the rest of society.
It was sort of his 'Brando' moment - his very 'method' moment. He just absorbed it and continued on.
Anybody can write music of a sort. But touching the public heart is quite another thing.
I don't know many South Africans who don't have their eyes wide open to what it's like to be exposed to some sort of violence. The question is whether we choose to be cynical about it or not.
My parents are kind of young, and my dad always listened to rock music and stuff like that, so I sort of grew up around that. As far as acting goes, I didn't really have any major influences because it wasn't really something that I focused on.
I never believe them when they say that because you really have to sort of be aware of what's going on in the news in order to get the jokes on the show.
Every novel presents a slice of life. A noir policier for example presents one slice, one that perhaps addresses social dysfunction or some sort of pathology, while mine present a slice that is more upbeat and affirmative.
My grandfather always told me, 'You know you're American first, but you're a Greek-American, which makes you a better American.' It sounds sort of old-world and very sweet, but what he meant was that you should embrace those things that are most special and different about you.
I have my favourite fashion decade, yes, yes, yes: '60s. It was a sort of little revolution; the clothes were amazing but not too exaggerated.
I think when you work alone - the way I do it, anyway - you could sort of liken it to painting, where there's sort of a one-on-one with the canvas.
The fact is, an America's Cup team is more than a sailing team. It's anywhere from sort of 80 to upward of 100 people; of designers, engineers, boat builders, an incredible group of people, and there are a lot of nationalities in New Zealand's team.
I think it's important to find the joy in your work and the things that sort of renew that.
Acting is something that I always wanted, but I never paid attention to the notion that it might actually work out. You have all sorts of ideas about what you want to do - at one stage, I wanted to be a jockey - but this is the one that's a big deal.
'Chocolat' was a sort of statement of my own childhood, recognizing I experienced something from the end of the colonial era and the beginning of independence as I was a child that really made me aware of things I never forgot - a sort of childhood that made me different when I was a student in France.
I don't know if it's how I speak or what it is about me that presents that sort of label, but I don't know how many times I have to be out in public with a girlfriend to stop that from being said.
Writing is a question of finding a certain rhythm. I compare it to the rhythms of jazz. Much of the time life is a sort of rhythmic progression of three characters. If one tells oneself that life is like that, one feels it less arbitrary.
Fans are afraid to meet me. They're sort of afraid for their lives and won't look me in the eye.
You see another side of Draco when he's with his dad. When Draco is with his dad, he doesn't say anything. He keeps his mouth shut. He's sort of bullied by his dad, so he acts very different.
The artist's job, I think, is to be a conduit for mystery. To intuit it, and recognize that the story-germ has some inherent mystery in it, and sort of midwife that mystery into the story in such a way that it isn't damaged in the process, and may even get heightened or refined.
That's a problem. I mean, like any sort of growing startup organization, we are sort of overwhelmed by our growth. And that means we're getting enormous quantity of whistleblower disclosures of a very high caliber, but don't have enough people to actually process and vet this information.
Patrick Swayze reminded me a lot of Gene Kelly. Patrick had that Everyman quality. Gene made dancing sort of an accessible idea for the regular guy out there.
It's an honor to have people follow you and watch you. I do get a lot of fan mail and I read everything. It's very flattering and sort of surreal. I'm very glad that people like what I do and they want to follow what's going on.
You look at how Barack Obama has had to conduct himself as President. It reminds me of Jackie Robinson, how he had to be very careful to reassure people that this was all right. And you still have people trying to tear him down. They make up all sorts of lies, with the goal of making him seem illegitimate.
I sort of understood that when I first started: that you shouldn't repeat a success. Very often you're going to, and maybe the first time you do, it works. And you love it. But then you're trapped.
Inevitably, these sorts of things are going to come back to blow up in people's faces.
I suppose where I am sort of reflects the work I have chosen to do. Are there occasional frustrations because I can't work with a certain director because it's a big studio movie, and I don't have enough of a studio profile? The answer is yes. But generall... generally, I have the career I have chosen myself.
People don't really have a relationship with great writing or great production or great art direction or great direction. They just sort of admire it.
The reflection of the flame in the glass seems to be touching the hand. And you feel the helpless fear of these dismembered parts. This sort of thing can hardly be visualized at the script stage.
