Breakfast, for me, is usually some sort of omelette with some meat and veggies and potatoes and some good coffee. Then I'll usually do that into a workout, and I'll follow my workout with a shake, which is mostly protein and a little carb.
I'm surrounded by such beautiful, creative people, and I just love sort of sharing their stories and their journeys.
My father was always Labour, and my mother was always Conservative, so I tended to sort of go in the middle.
I've always believed in God. I also think that's the sort of thing that either comes as part of the equipment, the capacity to believe, or at some point in your life, when you're in a position where you actually need help from a power greater than yourself, you simply make an agreement.
It's sort of what jazz would be if it stopped being snobby and what rock would be if it stopped being stupid.
I try to bring elements of my own personality to every character I've played, but I think I'm pretty similar to the character I'm playing now. The biggest departure would have to have been Freaks and Geeks Sara, who was this sort of subordinate and shy girl.
When I was working with Tom Ford, he would just look at me and ask, 'Will you wear it?' I'd say, 'Ah, too long, too short, lower waist, deeper V, unbutton' - that sort of thing. I don't create clothes, but I definitely know how to make them come alive.
Most of the monsters... are based on some sort of mythology. Every culture and even some geographical areas have monsters and mythology that is their own.
When something exceeds your ability to understand how it works, it sort of becomes magical.
Whites cook at a lower temperature, set at a lower temperature than yolks. That, to me, is very interesting. That has opened up - as an egg lover, that has opened up sort of a world of possibilities, of applications.
'Codename Baboushka' is an action-packed modern pulp spy thriller, in the sort of British tradition of 'Modesty Blaise', New Avengers and of course James Bond. It's a book about Contessa Annika Malikova, the last of a noble Russian line and an enigmatic, mysterious figure in New York high society.
I've read a couple of things that I was sort of close to having a nervous breakdown. But I don't think I was. I was very, very tired. It was a really difficult time.
I try to sort of make myself emotional in the moment when I'm writing, and that always translates better. When I'm writing, I can't do abstract.
Avant-garde music is sort of research music. You're glad someone's done it but you don't necessarily want to listen to it.
We all lie to each other, present some sort of front.
I would much rather we concentrated on the immediate, still-potent dangers, such as nuclear weapons, runaway climate change, and so on. Sort those out, then worry about Hal 9000.
All our pursuits, from childhood to manhood, are only trifles of different sorts and sizes, proportioned to our years and views.
I am one of 40 grandchildren. What bothers me about the whole trust-fund thing is that it sort of presumes that everything is handed to you. And if there is one thing about my family that I do identify with, it is that everyone is extremely hardworking.
My first two novels featured narrators who were aggressively unattached: They couldn't form any sort of genuine relationship. So I had thoroughly explored the geography of loneliness and isolation.
For me, even just being English was a whole sort of experience in as much as I'm Australian.
Somehow I've been able to keep standing and stay in my little corner and do my little stuff and I'm not particularly affected by trends or I'm not dying to make a 3D movie or anything like that. I'm just sort of happy to still be around.
But each time I seemed to be climbing into a roller coaster and finding myself coming through the downhill run with that sort of dazed feeling that we all know.
There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.
Well, I've always just - I've never really gone out looking for work. I always waited for it to sort of hit me on the head.
I've worked in a few sort of 'institutional' theaters - the Royal Shakespeare, the National Theater in England - and they're hopelessly top-heavy with bureaucracy.
Here was a fragment of Goddess myth that, through all its permutations, had somehow escaped being turned on its head. It was the perfect springboard for the sort of novel I wanted to write.
Politics was sort of a way of life in our family.
People sort of take it for granted, but the more you see of the media world the more you appreciate a paper like the Times where its family continues to invest in editorial quality and I think it's the truly is the best paper in the world.
I believe that proper eating will help all sorts of diseases. I can't say it will cure, but I can say it will materially help.
The Americans just have a great sort of wit about them.
I got involved in improv comedy. It settled me down when I was getting wild. I was sort of an evil teenager smashing up my cars and drinking and driving, let's just say, a lot.
My songwriting process, and maybe loads of other people's, is just this sort of smashing together of emotions and stuff to make some music. It's kind of simple and really complex at the same time and, as you can see, incredibly hard to explain.
But I couldn't cut that whole septic tank scene out because the audience liked it so much. So I sort of fell right back into getting a cheap laugh, but I still loved it.
Life isn't all beer and skittles, but beer and skittles, or something better of the same sort, must form a good part of every Englishman's education.
I binge write, basically. I do a lot of prep, research, setup. I'll have a pretty detailed outline. Sort of like a beat outline. And then I'll add little notes and dialogue ideas, and I'll just create a 20-page document.
Orwell wasn't right about where society was in 1984. We haven't turned into that sort of surveillance society. But that may be, at least in small part, because of his book. The notion that ubiquitous surveillance and state manipulation of the media is evil is deeply engrained in us.
