ABC Family is where the good stuff is at. I'm so excited to be a part of this network because they've really done a great job introducing shows that are heartfelt, exciting, and everything you'd want.
I always want objects in my home that have a connection to me or something I've loved. It's still stuff, but it's stuff that has meaning.
I'm good with accents and stuff; it's mostly that I have a really good Spanish accent, so it sounds like I speak a lot better than I do.
Can clearly say Vegemite is horrible! Like tryin' new stuff though.
There's a lot of stuff they don't teach you in the mythical editors' school. They don't teach you that you're going to have to spend a lot of your life in crisis management.
We sell to businesses who sell other stuff, so we're just going to concentrate on doing that.
Obviously classical music tends to be stuff that is usually at least a hundred years old.
I thought we would have at most an audience of 5,000 devotees because I made the decision to stick to craft, not to gossip, not to be interested in any of the juicy stuff that they talk about on other shows, but stick to the question of craft.
I have this old-man character named Glary Oldman. His apartment was on fire, but he was stubborn about leaving because he didn't want to leave all his stuff. I have a character called Berle, who lost 19 pounds, and now he's 600 pounds and very happy about it.
There's always room for your hard-core country songs, and that will always shine through, and I'll always have those on my albums. And then I'll have fun stuff that gets people up and dancing that some people may want to say, 'Well that sounds real pop-y!' but I don't really think it does, I just think it's what's going on.
I want to do a little bit of everything. I love sci-fi. I think it's more the characters that draw me towards things. I like strong women. I'm very interested in futuristic stuff, anything.
I'm not saying that experiencing loss is why I can cope with darker worlds - I'm not saying that for a second - but I think it opens up a side of you in terms of work that wouldn't be as accessible had that stuff not happened.
My general sensibility is most certainly comedic. But when I signed with my manager, he said, 'I think you could do dramatic stuff as well.' So, rather than making the choice to do it, I sort of agreed and deferred. By no means does it feel close to home, but I was willing to explore it.
When I was a kid, I wrote to the BBC, and the producers sent me a huge package through the post with 'Doctor Who' scripts. I'd never even seen a script and couldn't believe that they actually wrote this stuff down. It sort of opened a door.
If I'm with my dad, yeah, he's going to talk a good bit about the business. He just kind of mentors me and tells me what he's thinking about my stuff.
I look at Samoa Joe, and I've told him a number of times that I see his stuff at 'NXT' and think to myself, 'Man, I could have a great deal of fun with you.' He's a guy I have sort of enjoyed, and one of those sleeper guys that no one talks about.
I just don't want to do crap movies, man, because I just love that I can get up and talk about them and talk to journalists about stuff that I'm really proud of.
I think gardens are fantastic, and I'd love to draw and design and stuff like that. I love just planting flowers during the summer. There's something very humble about it, and natural and beautiful.
Because you can't write habitually and well all the time, you have to be willing to write badly. That's how you get the regularity that enables you to be present for the good stuff.
I like going to museums and stuff, but I also like going out and doing lots of physical activity like camping and hiking. I like doing stuff that I've never done before. Curiosity is a big thing. Usually it means that people are intelligent and that they want to learn stuff about the world.
My mother told me, 'Son, nobody else but God knows.' And that's what I'm about - reaching out to the people, crying with them, giving them hope. Visiting the hospital, visiting the kids with cancer, visiting the adults, and stuff like that. That's what I do.
I was about 14 when I started with a theater group; it was like a stage group on the weekends alongside school. And it was run by a group of guys who'd been to drama school themselves in London. So they introduced us to techniques that they'd learn about, and they kind of informed us about improvisation and screenwriting and all of that stuff.
I want to write my own stuff, and, you know, it would be nice to put myself in it. But I would like to hope that there are going to be better roles offered as well and that I don't need to do everything. You know, like, I appreciate my career being somewhat DIY, but it would be nice to get some help.
You're following your track, the story, your only plan, your map for the audience, and all the other stuff is, like, the fun stuff: the costumes, the locations, the set-dressing and the actors. They can all be variable as you like if you stick - however roughly - to the path.
I like doing the mainstream, right-down-the-pike broad comedies as much as I like doing the kind of unorthodox different stuff.
I hit 'record' whenever I'm going through a really hard time. I don't listen to it for a couple of days, so I have some perspective. If it's too personal to share, and I feel like would alienate the listeners, then I usually don't share that stuff.
You have to learn how to harness technology so you can use it for positive stuff without being disconnected from nature.
I can't really write anything without knowing the ending. I don't know how people do that. Even with my superhero stuff, I have to know at least where I want to take the characters and what the ending of my story with them will be. I just can't structure stories or character arcs and stuff without knowing the endpoint.
I'm lucky enough that financially I don't have to feel obliged to go for the bigger stuff. I like the stories and scripts to dictate if I want to do them.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
Trying to overcome addiction is one of the hardest things for a person to do. And the fact that I had to do it under the scrutiny of tabloid press at first made it seem even more difficult. But in fact, it oddly ended up being a plus. Because of the tabloid stuff, it wasn't like I could walk into a bar and order a drink.
I'd read Up in the Old Hotel, and I wanted to do something with Mitchell's stuff for a long time.
We had 90 percent rates, but nobody paid them. And so you had all these exemptions, exclusions, shelters, all this kind of stuff. And that's why most Americans are saying, 'Look, let's just be honest. Let's have lower rates, but everybody pays them.'
With Freebass, there were no rules, really. It was all rather chaotic. Obviously, Hooky was playing the high end stuff, which he always does; Mani was doing the bottom end, and I thought I'd go midway and meet everyone in the middle.
I think beautiful independent films are made, and I think they're as close to what theater can be because they're not loaded with all of the extra stuff. It's human, and it's more organic, but theater is very unique... It's a different connection altogether.
I actually grew up watching 'Survivorman' and Bear Grylls. I know that pine needles are a good source of vitamin C and just random facts from watching the stuff.
