They do not love that do not show their love. The course of true love never did run smooth. Love is a familiar. Love is a devil. There is no evil angel but Love.
Death is ordinary. Behold it, subtract its patterns and lessons from those of the death that weapons bring, and maybe the residue will show what violence is.
Neither Rainer Werner, nor any of us could have succeeded, or produced the number of films that we did, just on our own. We showed our films to each other, discussed them vigorously and rarely agreed.
I kind of worry about that a little bit - we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn't show any Australian films.
When you model for a show, you get this real sense of adrenaline. It's difficult when the shoes are so high - that part's quite scary - but you just have to do it.
It was a beautiful, clear Southern California kind of Christmas Eve, the kind where Santa shows up in khaki shorts and a Hawaiian shirt and shades, flashing a peace sign with one hand and sipping a Corona with the other.
When I got a million subscribers, it just sort of snowballed from there because a lot more people show interest. They're like, 'Who's this? They've got a million subscribers; maybe I'll like their channel.'
When you see or hear something beautiful, it's like that thing is transmitting a kind of energy, and if that energy helped create the work, the only thing I can do is play it when I finally show the work.
I once pitched this show that was just like 'Quantum Leap,' in terms of the set-up, and I got a pass because they said 'Quantum Leap' didn't work, even though it was on for six or seven seasons. You can't say 'Quantum Leap' didn't work!
The fundamental importance of the subject of molecular diffraction came first to be recognized through the theoretical work of the late Lord Rayleigh on the blue light of the sky, which he showed to be the result of the scattering of sunlight by the ...
I normally work like a vampire. Around 8 to 9 P.M., what I call 'the spirits' actually show up, and then I just go in the booth and scream on top of a track. I only sing on the mic. I don't sit down and write anything.
I have done a lot of work in Hollywood myself. I worked in television for roughly 10 years, from the mid-'80s to mid-'90s. And I was on staff at a couple of shows. I did some feature films, including originals and adaptations.
It's really not that hard. If I do a Tonight Show, it's six or seven minutes. If I do a concert, it's 90 minutes. If I do an interview, that's 15 minutes. So by the end of the day I've done three hours worth of work.
As millions of Americans look for work, the Obama campaign and Democrats are attempting to distract attention away from this administration's dismal record. The attack they have launched against Mitt Romney shows just how worried they are about facin...
I'm not a virtuoso on an instrument. You know, I'm not always singing in pitch. I laugh sometimes my way through the shows, but I'm an honest songwriter who's always tried to bring the audience with me on my journey in hopes that they see their own l...
For me, when working on a film or play or television show, everything for me starts with the screenplay and I am devoted to that and that is what I work from. Any research I do or any preparation I do on my own is all ultimately in service of that.
When I first started the show, I was known as the 'cop nerd.' I was in the 9th Precinct in the East Village every day. I'd be at work wearing a fake bulletproof vest with foam in it, then I'd leave and put on a real one to ride around with these guys...
I still sweat bullets if I go on The Tonight Show, but I tell myself, You can either have fun tonight or you can be shy and miserable. You ask my friends or anyone I work with now - nobody would say I was shy.
Going in, I knew I wasn't one of the top ones, because I didn't even make the pre-season All-American team. That shows you what people thought of me right there, so I knew I had to go to work.
In 2004, I was on the West End stage in The Woman In White, and for every show I had to climb into a fat suit to play the obese Count Fosco. It was hard work, and unbearably hot, but I sailed through because I'd always kept myself fit.
When you get into a production, there are a lot of things you have to hit to make the show work - like my cues or a cue for another person or making sure you don't mess up the beat, and you can let all of that get in the way.
