I've been lucky enough to do a few roles where you get to be crazy and wild, put on contacts and different wigs and different hairpieces and dresses and outfits and embody the craziness of it all.
The Karen Ann Quinlan case is where the right to life and the right to die got bound together, and I don't think they've ever gotten untangled.
Eventually, we reach the point where we start to realize that we are not going to find peace, contentment, happiness, strength, fearlessness - all of the things that in our heart of hearts we wish we had - outside of us.
We've been allowed to operate unmolested on the fringes of the music scene, really. That's where we enjoy it most.
The idea of music is to liberate the listener and lead him to a frame where he feels he is elevated.
I want my kids to be in an environment where they can talk about values in a way that you can't always do in a public school setting.
I don't think that books are wondrous, magical things that come from nowhere. It's important that a book has clues about where and how it was written.
I was going to become a youth worker because I do voluntary work with the kids in the little village where I live. I make little films with them and stuff when I'm not working. I thought, I'll pack it in then, and go and do something I love doing, and get a regular job because I've got two kids and a mortgage.
Design is about creating spaces for people to enjoy and of course, creating moments where you elevate the spirit, but 'design for good' is figuring out a program that not only creates better spaces, but creates jobs, creates new industry and really kind of raises the conversation about how we rebuild.
In L.A., I love the L'Ermitage in Beverly Hills. Also, the Beverly Wilshire, where they make great huevos rancheros. I also love Shutters on the Beach, where I walk around everywhere in a bathrobe.
Even though I'm an actor, I've gone to productions where there has been someone whose work is known in film, and you can't take your eyes off them. It unbalances the production. Whether they're good or not, it doesn't matter.
Puerto Rico is beautiful. I mean, I love it. But it's hard to film here. It's hard to film an action movie here where you're outside, and you're running around all day.
There have been several occasions during the course of Fleetwood Mac over the years where we've had to undermine whatever the business axioms might be to sort of keep aspiring as an artist in the long term, and the 'Tusk' album was one of those times.
It is not possible to make great buildings, or great towns, beautiful places, places where you feel yourself, places where you feel alive, except by following this way. And, as you will see, this way will lead anyone who looks for it to buildings which are themselves as ancient in their form, as the trees and hills, and as our faces are.
The thing that always attracted me to New York was the sense of being in a place where a lot of people had a lot of stories not unlike mine. Everybody comes from somewhere else. Everyone's got a Polish grandmother, some kind of metamorphosis in their family circumstances. That's a very big thing - the experience of not living where you started.
I recently saw this home video where my brother is playing this character Arsenio Grimley, who is a mix of Arsenio Hall and Ed Grimley - which, clearly, is my parents' doing, because he's, like, 10. He's the host, I'm every guest, and then my dad is Elton John. That was a Saturday night.
There are times where we are shooting a TV show, and it goes very fast. But everybody has this freedom to still be artists.
Our morality is based on so many factors: of where we were born, who we were born to, what values were instilled in us, what values we chose, the way that our lives have shaped us. That dictates so much of what we assume is our morality, and also the culture, all of these things.
Even schools for Negroes, then, are places where they must be convinced of their inferiority.
Fish banks are areas we set aside without fishing, reserves where we allow marine life to come back.
Working with Kano is cool, too: obviously, he's from the same scene, but we've never worked together on a track before, and where, like, better to do it than on a Gorillaz project?
We've been co-evolving with our technology for a hundred thousand years. Human beings and the technology we make were always inseparable. We're finally coming into this moment where it's coming inside our body for the first time in history.
It's really hard because obviously people label you as a British East Asian actor. And I'm just from Salford; it's where I was born.
I'm not in a position where I get to pick and choose roles. I usually go on auditions in long lines and embarrass myself in front of casting directors, and with a lump in my throat and my ears burning, I walk past reception and smirking actors as I go to the parking garage and go back on the highway.
I have such happy memories of performing in a choir and I don't think I'd have got where I am today without all that experience. So my advice to young singers is to either join your school or church's choir or find one in your local area. Choral music at any level teaches you so much about musicianship and blending your voice.
I live in Paris, yet Monaco, where I spend a lot of time, holds a very special place in my heart.
The first time you watch a movie that you like, all of the magic works on you. It's an experience of having a world unfold in front of you. But if you watch it again, you start to see where the seams are.
Where we are going as a species is a big question. Human evolution certainly hasn't stopped. Every time individuals produce a new zygote, there's a reshuffling and recombination of genes. And we don't know where all of that is going to take us.
I just write and do what I think is funny. Sometimes, you do have it in your head about certain bits. There are certain jokes where I know if I did them in certain situations, it would irk people. There are times where I look at the news and see a story going on, and I'm like, 'Wow, if I tweeted this, I would get press if I wanted to.'
Some magazines are run from the top down, where the editor-in-chief decides what every article is going to be and who's going to write them, and then they're doled out. My idea is to do it the opposite way, to do it from the bottom up.
Creative ideas aren't like Jenga blocks, where they fall apart and you've got to start from scratch, though it can feel that way.
I have achieved what I wanted to achieve. I'm better off at some sort of independent place where they not only like what I produce but also trust me to be the one to produce it.
I never remember having a plan. All I could think about was how I was going to afford to get into college or where I was going to stay because I hated being at home. I didn't really have time to think about anything in the future. I didn't think about a career or anything. I went to uni, got a couple of jobs, so I sort of funded it myself.
I was tough at a very young age, where I was just fighting all the time.
I want to challenge myself to see where my limit is and experiment with a lot of different films. A lot of artists from Asia focus too much on their Asian background. I don't want to let go of my background, but to be a success in the U.S., which is my goal, I realize I need to surround myself with American filmmakers and producers.
Most tech companies do one trick and die. If you can do two or three or four, that's where wealth gets created.
