In a crime story, the details become tremendously important - where the staircase was in relation to the bed, for example.
I spent so many summers and New Years and fun times in New Orleans. It was always a place where I felt I could go and actually let go and enjoy the spirit of something.
Mars is the only place in the solar system where it's possible for life to become multi-planetarian.
I was never the ingenue, so hopefully that'll make it easier to age and still work. I know a lot of actors who are really dissatisfied with where they're at even though some of them are huge stars and I feel like, 'Oh, my God, you're at the top.' Something interesting will come. It always does. I have faith.
As artists, our primary function is not to be educators - but we are at a time in history, where for us, our history needs to give context for stories that we hope to tell down the road.
I want to create a market where people from all walks of life can encounter each other in an atmosphere of beautiful chaos, the coming together of kindred souls.
I hope I don't get driven to the point where, to be honest, I'm never satisfied. I hope there's some part of me that can be content.
I would like to help people have honest and constructive conversations about energy. We need to understand how much energy our modern lifestyles use, decide how much energy we would like to use in the future, and choose where we will get that energy from.
If you live in central London, that's probably fine for you, but in places like Edmonton, where you're almost out of sight of London, you've got to pay more and more to get into central London. How does that work?
I jump around in the plotting stage, where I basically just make a bulleted list of every damn thing that happens in the entire book.
I used to be very much Jekyll-and-Hyde, where the Jekyll in me would say, 'Keep to the budget, be responsible,' and Hyde would be like ,'Ah, we can do an extra shot or an extra day.'
I attended seminars where many social issues were discussed abstractly, outside the pressures of an immediate situation, and there I developed certain attitudes which permitted me to face the real thing when it came along.
My father ran a corner drug store where he worked night and day, seven days a week, until he died of a stroke. He literally worked himself to death.
The most important thing, to me is the intention of where things come from, like, why did you use it? What were the intentions of what you did? And if the intention is good, the intention is pure, then everything will turn out good.
For 'The Journal of Finn Reardon,' I traveled to New York City and walked the streets where Finn and his friends would have lived, worked, and played. I visited the Tenement Museum on Orchard Street and toured an actual flat in which families like Finn's might have lived.
I actually did go through severe depression and anxiety attacks where I couldn't sleep for weeks. It was definitely several months of being not myself.
I love that vision-board thing where you cut out pictures that resonate with you so they'll manifest. I've done that since I was three; I cut out pictures of ladies from the JCPenney catalog.
Whatever people thought the first time they held a portable phone the size of a shoe in their hands, it was nothing like where we are now, accustomed to having all knowledge at our fingertips.
We're in a situation now where weight and extreme weight and heart disease is the biggest killer in this country today.
My mother was a mother. She didn't really work, apart from bringing us up, which a job in itself, but at an age where lots of people are thinking of retiring, so is having up to 20 or 30 engagements a day, and she's brilliant at it - she has always been brilliant with people.
Monsters are a departure from 'reality' in a way that allows for a range of fantastic possibilities. I mean this within the world of literature as well as in regards to art. When I sit down to draw, I'm energized by the possibility of creating a monster. That is where I find beauty and pathos.
The two most important things to do for self-defense are not to take a martial arts class or get a gun, but to think like the opposition and know where you're most at risk.
I've always said that theater was where I began, so everything I do now has a bit of my theater background in it. It was my training.
You get to the point where you're like, 'I'm just doing me, and if people don't like it, then it is what it is.'
Architecture has curled up in a ball and it's about itself. It has found itself either as a freakshow, where you're not sure if it's good or bad but at least it's interesting, or at the behest of forces of commerce.
I don't want to have that thing where I make an album and then I'm super-constantly present in everyone's life for three years, and then gone for the next three.
I feel like my early experiences of acting, and I think a lot of other actors' too, are probably at camp or school plays where you get to have great range. At camp, I remember getting to play a 50-year-old man.
The role of a creative leader is not to have all the ideas; it's to create a culture where everyone can have ideas and feel that they're valued.
There's a crazy amount of goodwill, and I don't know where it came from, and I don't understand, but the more I pay attention to it, the more it's going to sting when it flips, so I think I'm almost subconsciously cultivating this naivety to it all.
Before doing my first open mic, I was sitting in the back watching all these comedians banter back and forth and fire jokes and up each other, and I thought, 'This is where I wanna be.'
I think my mom is kind of this way, too. We're just such strong women. My mom's been through so much, so I think that's where I got it from.
The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.
Empathy is why entertainment is always growing, and for millennials, everyone is judging them and trying to grab their attention by insulting them. We're living in a time where everyone has 25 profiles, and they're having 25 conversations.
Whether it's from the biggest, most powerful city, or from the dinkiest little podunk town, there is a certain attachment and connection, and yes, pride about where you came from.
The reason it was so bruising when someone said I was from a rich family is that, like many of us, I'm deeply invested - probably overly so - in the myth of my own self-creation. I like to believe that I got where I am, such as it is, by working hard and charting my own course.
The thing that upsets me the most is the entitlement of people that will stand with a flag and say to some other people that they need to go back to where they came from. When, in fact, they also would need to go back to where they came from, because you need to go all the way back to the beginning.
