For reasons which I can't logically explain, in all of the films I've done, I've ended up doing love stories of one kind or another, and it seems to me that love stories are extremely dependent on the obstacles you can place between the lovers. There is no love story without it.
It's hard, or you wouldn't like it. A lot of coaches really don't like what they're doing.
And in the Second World War, you didn't just read about it in the newspapers because you weren't allowed to read it in the newspapers. It was all censored, you know? So nobody knew what we were doing.
If I know I'm going to be in a little different system, I'm 39, I can plan for that; we can plan for that. Doing nothing, the status quo, is going to guarantee cuts for current seniors... reforming the system is the only way you shore it up.
In my professional work with the Agency, by the late '70s, I had come to question the value of a great deal of what we were doing, in terms of the intelligence agency's impact on American policy.
What was frustrating about Armageddon was the time I spent not doing anything. It was a big special effects film, and I wasn't crazy about pretending I was in outer space. It feels ridiculous.
When I came back from filming 'Abduction', I told my agent: I'm staying in London now. If it takes doing children's theater from the back of a van in Kilburn, that's OK. I need to be with my family. My job is to keep the family together and provide for them.
I started doing plays in New York while I was at Fordham, but I did graduate by the skin of my teeth.
From doing A Moon for the Misbegotten, I've learned that nobody's love can save anybody else. There are people who want to die, and nothing or nobody will stop them. The only one who can save you is yourself.
We're one of the most highly regulated industries, and we have to pay attention to what government is doing.
They had me doing Beach Boys remakes and all that. I was basically a marionette.
I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like that or they're watching you or something, you'd better come up with something.
Believe me, I love commerce as much as the rest of the readers of 'Businessweek.' But in art, you have to be true to yourself and your musical vision. People have known me well for a long time, so if I was chasing a trend and doing something that wasn't authentic to who I am, they would know it in just a few seconds.
I'd rather regret doing something than not doing something.
A 'harmonized' life these days sounds like a tall order. Between housework, homework, workwork, and busywork, there are perpetually too many things to do, and not enough time to find that mythical balance. Nothing is more frustrating than feeling like you're doing doing doing but getting nothing truly done that you really want.
I'm more nervous about doing this than anything I've ever done before, because it is so prestigious.
But I can't wait to watch the Tonys this Sunday. I'm really glad Broadway is doing so well this year, especially with its straight plays. It's been a wonderful year.
When I made it, I still didn't wave the flag and say, Yeah go Asian people. I do want people to know that about me, but I always felt like at least musically, let me just do what I do and be the best at it. Which is what I'm doing right now.
If I knew for a certainty that a man was coming to my house with the conscious design of doing me good, I should run for my life.
I started working at the age of 2, doing commercials and modeling in New York.
I did a film called 'Puccini for Beginners,' which was a romantic comedy, and I always wanted to do more, but I kept doing drama.
I am a very open, social, friendly person, and when it comes to people approaching me and asking for an autograph, I am totally cool with doing any of that. It's a lot of fun.
I didn't want to stay in the Stones, and be stuck in a position having to play a music I didn't like anymore and that restricted me from doing all the others things I'm interested in because of time.
No man will make a great leader who wants to do it all himself or get all the credit for doing it.
So many actors are lively-minded, creative people who just tread water in this awful way, waiting for the phone to ring and doing their hair for auditions. It feels like a bit of a dreamer's life - as opposed to a sensible ventriloquist's life.
I've never worked as much as I would've wanted to, and that's why I end up doing a lot of stage as well, because stage is a full course meal.
If I'm not in the theatre, I'm in an open mic night or doing a guest set at the Comedy Club, or whatever, just trying to develop stuff.
People are talking about women's wrestling, and that's all I've ever wanted since I was ten years old. I wanted people to talk about the women and all they could do. We're celebrating women's wrestling. People want to see us, and we're just doing our best.
When you are overworked and exhausted, there is a sense of kind of delirium and that's why I think architects do all-nighters and they kind of do those deadlines. For four days I remember doing four nights in one row with no sleep. I mean nobody, unless you are crazy, would do that, but you are totally focused on the project.
If you've got a regular feed of winners, you control your mind to do it. It becomes a must. If you didn't have that regular flow of winning, whether you could get yourself to do that, I don't know. It's a lot easier when you know the next day you can win and you can win and win, it's worth doing it.
Idolizing is a strong word, though. I'm happy that people respond well to the work I'm doing now. If anyone admires what I'm doing in any way, then I'm really proud of it.
I've started doing yoga and meditation, but I'm not very good at that kind of thing and turning my brain off.
Sport has taught me never to be jealous of someone or insecure if somebody is doing well. It's taught me teamwork and the value of patience. Even If I lose, I know that I've actually not lost.
Mars is really different, into art. Lydia Lunch is more energy. James Chance is more commercial in a different way, in funk and jazz. They were all doing original things, trying to create their own sound and music. I think they're all great.
My best artist friend is definitely Jason Aldean. He and I really get along great and are really great friends. It's fun to tour with a buddy and somebody that I just enjoy hanging out with. If we weren't touring together, we'd be hunting in the off-season still and knocking around doing stuff, certainly.
But certainly I didn't know he was doing anything that was criminal.
