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.
People still text me to say that there is something about me in the paper, and what really annoys me is that if it's nasty, I then have to go and have a look, even though actually I don't want to know.
A woman will toss her head and a man will say, 'Oh she's trying to pick me up,' when in fact she's not doing that at all. So, women actually have to be a little careful with what they do, because men will pick up things that they didn't mean.
Not only do people stop me on the street to say, 'We're walking, we're walking', but I have actually been in restaurants where the hostess was saying it to customers.
I would never inflict my bassoon on anybody really other than the long suffering audiences that come to the concerts of The Really Terrible Orchestra; which actually is really terrible.
Acting is just a process of relaxation, actually. Knowing the text so well and trusting that the instinct and the subconscious mind, whatever you want to call it, is going to take over.
The assumption is that the right kind of society is an organic being not merely analogous to an organic being, but actually a living structure with appetites and digestions, instincts and passions, intelligence and reason.
I don't understand computers. I've been unable to construct a working mental model of how they do what they do. I can break software by looking at it. I can blow anything up. Without trying. It's sort of like being a dowser. And this extreme elaborate clumsiness on my part is actually something people will pay me for. It's quite wonderful.
I basically did all the library research for this book on Google, and it not only saved me enormous amounts of time but actually gave me a much richer offering of research in a shorter time.
In the Belgian air force a general supposedly saw a UFO, tracked it with his plane, photographed it with his wing cameras. And I believe it because I said to myself why would this person, not getting paid for this, do it unless it actually happened or he thought it happened.
Actually, bizarrely, in America, I get more appreciation from the odd, unusual stuff I've done, almost because I'm not, if you like, famous in America as I am in England.
The commitments, schedule and sponsor appearances don't change. It gets more busy, because you get more popular, and the more popular you are, it actually gets more busy. They're like, 'Yeah, let's use her, she's hot right now. Let's do a shoot!'
I take it for what it is, and sometimes the criticism is actually useful and constructive and actually informs what I do, but most of the time, it's sort of mindless, or they're receiving something on a different frequency than I was sending it.
I did tennis for a while, and I was actually on the volleyball team for a minute.
If we're going to make sure that we get our legislation right... we need to actually be spending time with Hoosiers.
There's the pressure of being a No. 1 on the call sheet, being a lead actor. There's almost this feeling like being captain of the team. You want to put a bit of energy into actually setting a good example.
The only credit I can give them. They synchronize wonderful. That's all. They synchronize very - you would have thought that they were actually acting, but they were synching all the time, and that's a rough job.
The artist himself is actually the subject in everything after, say, 1900. Eventually, art becomes so removed from the community that you have to know about the artist before you can even look at the painting, because there is a conceptual idea going on.
I'm actually thinking about maybe, on a spacewalk, not wearing my glasses. I normally wear those both for reading and a little bit of a distance correction, but the distance vision seems like it's gotten a little bit better. So I might go without.
I'm a kid from the small Illinois town of Batavia, who grew up on the Chicago Cubs and made sports his life's work, although there's never been a day where it actually seemed like work.
But you know, really, if you think about it Roger and I and all critics really have one absolute essential part of our credentials and that is that you believe that that is actually what we think.
Usually a feeling of disappointment follows the book, because what I hoped to write is not what I actually accomplished. However, it becomes a motivation to write the next book.
I had never worked in television before 'Freaks and Geeks,' and 'New Girl' is the first time since that I've worked on a series that is actually a series and not just a pilot.
Actually, I wanted to act even when I was still playing football.
Quite a few, actually, are involved in education. They have had the same experience Hanna and I had: when they started having their own kids, they didn't want them to have a poor educational experience; they wanted them to enjoy school.
The essence of creativity is to look beyond where you can actually see. I don't want to dwell in same place too long.
This seems to be the law of progress in everything we do; it moves along a spiral rather than a perpendicular; we seem to be actually going out of the way, and yet it turns out that we were really moving upward all the time.
A lot of British actors will look at America as such a land of opportunity. In England, there's such a small pool of working actors of color. There's such a small amount of work that is actually produced in the first place.
I saw Quentin Tarantino's 'Django Unchained,' and you could say a lot of things against it, but it was incredible fun. I don't like blood and gore, and I am very squeamish about violence, but Tarantino's violence is actually funny.
Often, when you look at history, at least through the lens that many of us have looked at history - high school and college courses - a lot of the color gets bled out of it. You're left with a time period that does not look as strange and irrational as the time you're actually living through.
What I loved about 'Goodfellas' is that it's a film about bad behavior - but told with great energy and without judgment - but it doesn't actually shy away from the consequences of that behavior in the characters' lives, which I think is similar in 'Keep the Lights On.'
There still seems to be a lack of film for the baby boomer generation, if you'd like to call it that. And I think 'Martin Bonner' showed what's possible. Later in life, when you've been working at something for a long time, to actually get some kudos for what you do is wonderful.
Who knew we had all this O.C.D. in the world? Well actually, I suppose it's pretty obvious. It explains Sudoku, doesn't it?
I wrote so much about fandom and participation for NPR that I eventually realized my most fertile way of participating in music is to actually play it, at least in a way that made the most sense to me.
There's something about most phobias where there's a tiny, tiny corner where you think this really actually could happen.
Because actually it's really hard to get things made. It takes years. To fight the fights you inevitably have to fight, even when you've produced Harry Potter, you'd better have the commitment and the passion to knock down walls, not take no for an answer.
