If I had it all to do over again, I would do most all things differently. However, how would I know that if, I had not had the opportunity to do them the first time.
Our enemies can deal a blow to us any time they wish. They did not wait for permission to do this. They do not deal a blow with prior notice. They do not take action because they can't.
I'll admit it: I'm a control freak. I am. If I'm going to do something, I'm going to do it 110% or there's no point in doing it at all, especially if the work takes me away from time with my husband and children.
We're certainly interested in maximizing our return and doing it - we're interested in maximizing our return, but we're also interested in doing it over a long period of time and in doing it in a way that never endangers the firm from a survivability...
Brick Pollitt: People like doing what they used to do, after they've stopped being able to do it.
Michael Llewelyn Davies: [Jack and George are sword fighting] Stab him, George. You can do it!
Steven Connolly: Do you want to do it again? Sheba Hart: Yes... [smiles nervously and nods] Sheba Hart: I wanna do it again.
Dutch: Come on... Come on! Do it! Do it! Come on. Come on! Kill me! I'm here! Kill me! I'm here! Kill me! Come on! Kill me! I'm here! Come on! Do it now! Kill me!
You definitely want to do the little films. They're always going to be harder, but you don't do them to make money. You do them so you can see what you can make with the research that you have.
I had a moment where I realised I could do silly voices, that lots of people I knew couldn't do silly voices, and that thus I must be able to make money doing silly voices.
Although it sounds cliche, the main thing I want to do is touch people with what I do. I want everything I do to be meaningful, and I want it to be about more than just myself, or the money.
All studio movies are the middle of the Bell curve. The only way to do something is to do it yourself. And the only way to do that is to not take any money from anyone or take as little money as possible from anyone and that's it.
People are pretty simple: they do what they are rewarded for doing. If they get multimillion-dollar bonuses by taking huge risks with other people's money - as they still do - then they will continue to take those huge risks, and not give it another ...
A film has to be for commercial success as well as earn you respect as an artist. You don't want to do only things that are designed to run commercially, and neither do you want to do things that get acclaim but don't run.
The sad thing is most people have to check with someone before they do the things that make them happy. We're all passing through; the least we can do is be happy, and the only way to do that is by being selfish.
I'm very impatient, and if I get a new piece of technology, no matter what it is - I recently got the iPhone, which is very exciting - I can't be doing with reading manuals. I want it to work immediately and to do what I want it to do.
As artists, we'd all love to not be commercial - to not sell out to the full extent that we are able. But you do what you have to do to pay New York rent and continue to do what you feel strongly about.
I do love the road, because for me, the road is very comfortable, and it's very much what I've always wanted to do. It's one of the most appealing things about comedy for me, so I do really have an affection for it.
Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'
I love the physicality side of roles, I really do, And when I get to do my own stunts, it's that much cooler. I'll do anything the production safety people will let me.
Doing womenswear is challenging, and it's exciting. I approach it the same way as I approach menswear, so it's in a tailored way, and I do my thing. I love doing it.
