Well, I think any time you delve into this sort of religion, politics, as you well know, you're going to, you know, touch a few nerves. I wasn't - now - and this is the honest truth.
Talking with you is sort of the conversational equivalent of an out of body experience.
People have these ideas about comic books and their adaptations as flashy and sort of surface-y, broad-strokes-type projects, but they're not, really.
When I write a song and come up with an arrangement and a vocal part, it's always a challenge trying to find a singer who can interpret it sort of the way that I hear it, and it's a very difficult thing to do. I mean, singing is like playing an instrument - everybody does it a little bit different - singing maybe even more so.
The studio scene in California is sort of ridiculous anyway.
Obviously, I care about the kids. Family, all that sort of stuff. But really, I don't care about life, don't care about death. Nothing. That's the kind of man you are dealing with. That's why I can't be beaten.
I think anyone who has a boy would tell you that they do the sort of things that make you look at them and ask why they would do that. 'Oh right, because you're a boy.'
I do think that being a sort of celebrity and being well off does give me some responsibility. I think that people who make a lot of money - and I do - should certainly give a considerable amount of it away.
I was reading Omar Khayyam, Kahlil Gibran, Rumi, L. Ron Hubbard, all sorts of philosophy. Bebop cats are like that. Curious. I wanted to know about everything.
I was sort of a sissy as a little kid.
I believe in a 'give us this day our daily bread' sort of thing. And what I draw from that is, I try not to stock my refrigerator for groceries for the week, cause I might not live to see the full week.
I suppose subconsciously I was thinking in terms of having the scale of it matching the scale of the images. Hence the sort of string quartet, jazz band and electronic stuff.
The way that I sort of direct the writers is, let's do the best story we can. Let's not worry about production issues. 'How much will that cost? How are we going to shoot that?' Let's not set up those constraints on the writing. I don't think it helps the project to work like that.
In performance, you don't always feel that sort of family bond right off the top. It sort of develops and grows over time.
I wanted it not to be true. I wanted it not to be her plane. I wanted it - I wanted, if it was her plane, to have somehow survived because she was in the back of the airplane. But we know that doesn't happen, not with those sorts of things.
I hate the idea of getting in a building that someone else has designed and having to do something to it yourself to sort of dress it up - it's like using presets in your tracks.
It's hard for bands to stick it out because people grow up, and it never really pays off. If you're looking for some sort of payoff, it's not gonna happen.
I am sensual and very physical. I'm very erotic. But my sexuality exists on a sort of a fantasy level.
Why do people compose music? Why do people listen to music? When we go into a concert, we go into a place where we want to experience a sort of ecstasy, to come out of ourselves.
To me, White Boy Shuffle is sort of like Catcher in the Rye, the story is so universal.
It was a sort of organic thing. I never went, 'I must be an actress.' I thought, 'I think I could do this. I think I could be good at this.' I would just get sort of hungry when I read something I thought I can do well, whether it was in books or in scripts or if I saw a certain movie. It sort of happened quite naturally.
Often, there's an emphasis in my work, and it's sort of the celebrating of the body.
For a lot of actors, there's a sort of code of honor around playing something other than yourself, which I just don't have. I love feeling like I'm - I won't even say acting out, but performing in some deep seam of my consciousness or my family's consciousness or my past. That's really amusing to me.
I've sort of dealt with the characters' lives more; particularly the women characters.
I wouldn't tell you anything about anybody I cared about because it becomes entertainment for other people, and it sort of just cheapens everything in your life. I would never tell you if I was dating anybody.
Hugh Everett's work has been described by many people in terms of many worlds, the idea being that every one of the various alternative histories, branching histories, is assigned some sort of reality.
It was sort of that in-between area when people don't talk about their personal lives. That's the kind of life I think Kerry would be living now if it weren't for the Lopez character sort of outing her.
I've always been a really really big Sheryl Crow fan. I just respect what she does in a way that she just remains true to her music and sort of has just been real. She isn't trying too hard ever.
Having one's image, and effectively, life, democratized, dehumanizes and sometimes objectifies it into an entertainment product. What sort of valuation of the ego would one have once you've let it been preyed upon by the public for years and years? Perhaps, it becomes truly just skin and bones.
I love film and TV, the medium of them, just because it's such a smaller screen. It's much more precise. Ideally, I'd like to do maybe a film a year of some sort and use that to work more in the theatre because theatre really is my first love.
As always, we prepare for all sorts of contingencies. And the first few days of the flight up until docking on Day 3 are all spent really in the rendezvous because we launch at a time that puts us in an optimal position to catch up to station.
Witness protection just makes for exciting stories and it's a really rich sort of place to grab stories from... people starting over completely, saying goodbye to their lives before... it never ends in terms of story opportunities.
I think people hire me for the slightly weird angle that I bring. Part of the trick is keeping it sort of simple; you have to give the impression of not that much music playing when there's really a lot.
But I think it's very key that there's a plan for Haiti. And we have to begin to - as progressives and people who are concerned about Haiti and have been concerned about Haiti, we have to begin to build some sort of consensus, a movement around the Haiti that the Haitians envision.
By laughing at me, the audience really laughs at themselves, and realizing they have done this gives them sort of a spiritual second wind for going back into the battles of life.
I can't keep track of my hospital time. It all sort of blurs together.
