I don't enjoy the boo scare when you're watching a movie and then suddenly there's a big shark on the screen. The only thing they're doing is catching you off guard.
I'm healthy and excited to play. And I think this year can be a big year for me if I get the opportunity. I can still play the game. I think I can help a team get to the Super Bowl.
I've shot a lot of places, and I've produced. I always thought, 'Gosh, when you shoot in a big city, it's so difficult.' And New York, I always think, 'Where are you going to park the trucks? How are you going to stop the traffic?'
I really do like the independent way of working. You don't get much studio intrusion compared to when you're working on a big Hollywood film where there tends to always be loads of people interfering. The only problem, though, with independent featur...
When I first got started in the late '70s, early '80s, and first was thinking about the interactive world, I believed so fervently that it was the next big thing, I thought it would happen quickly.
I'm a huge fan of Jack Lemmon, he was someone who managed to tread that line between comedy and tragedy and sometimes give very big performances, but they were never over-demonstrative and they were never not based on a kind of real truthful human be...
You're obviously conscious of being brash or big-headed but I always knew I was going to be a footballer when I was seven or eight. I didn't just think I wanted to be one, I knew I was going to be one. Nothing ever surprised me really.
When scientists are asked what they are working on, their response is seldom 'Finding the origin of the universe' or 'Seeking to cure cancer.' Usually, they will claim to be tackling a very specific problem - a small piece of the jigsaw that builds u...
I want to write a book that makes people debate, and makes people think, interact with each other and exchange ideas... I write because I'm engaged in this big conversation.
Don't feel you have to stick to plans, because something better might come up; and try to blend in, because you see more. I've learnt that the principles of moving around a big city are the same everywhere; only the people and streets are different.
So I concentrated on the rhythmic side of things, and therefore left a lot of holes. I didn't want to use big pad chords everywhere. All of the songs are built up of small melodies and counter melodies all played very rhythmically.
There's no reason for me to go into a big dissertation about why I'm not getting the calls. The refs have to do their jobs as well. I even mentioned it in training camp to the refs when we had our little meeting.
People come to a company like Abbott sometimes and think, 'It's so big, I can't make a difference.' I think just the opposite. I think everybody can make a difference.
I started this charity, Fashion for Relief, in 2005, after Hurricane Katrina happened. New Orleans was actually the first place I visited in the United States. It was one of my first big jobs, a shoot for British 'Elle.' It was April 14, 1986.
The big problem with songwriting for me is starting a new song. It's the thing where all the anguish exists, not in the writing of the song, but the starting of the new song. What do I write about? I never know.
My first Comic-Con was when I first met Joss Whedon: He introduced me to that world and I'd never been to a convention before that. He and a bunch of the 'Buffy' and 'Angel' writers were all going down in a big van and he invited me along.
When I first moved to London for university, I was already a big fan of Diesel because, in the nineties, Diesel was, like, the brand. The stores were the place to go. It wasn't workwear like Levi's or G-Star.
Philanthropists today want input into how their monies are being deployed. The big question is, can governments use this insight to sell the rich the idea of paying more tax rather than spend more on charitable giving?
This isn't about simple morality. Not anymore. The world is too big, and there are worlds in worlds. They were always there, in everyone's heads, but now we can see them. We're starting to bleed into each other.
I'm a big fan of outlining. Here's the theory: If I outline, then I can see the mistakes I'm liable to make. They come out more clearly in the outline than they do in the pages.
I called my book 'When I Stop Talking, You'll Know I'm Dead' because that's the truth. I will keep talking until the big hand comes down from Heaven. But I am a spiritual man and I believe that even that does not have to be the end.
