The corporation is one of the great unheralded human inventions of destruction. It is a way to absolve from any personal liability a bunch of people. They form together in a massive ID and they do whatever they want.
I never live in the present. I'd do interviews and people will say, 'Isn't this great?' or 'Can you believe?' And I would react, like, 'No, I can't believe it because I'm not living in this moment.'
You know, the bigger you get and the more success you have, the more people you can fill your house with to tell you how great you are. You can do that.
People who have no idea it's me when they first see me playing something, and later they realize, 'That's her from whatever it is,' it's a great compliment that they can forget.
My brother was a great audience, and if he liked the picture, he would laugh and laugh and laugh, and he would want to keep the picture. Making people laugh with an image I had created... what power that was!
I'm pleased to have outsold great writers. But I'm not insane - I realize I am a writer people buy to take on vacation.
It's great that I get accused of not being politically correct. People need to take themselves less seriously. This world is so screwed up as it is, we've all got to relax a bit more.
All I want is for people to listen to it with unbiased ears, and decide for themselves. I just don't want them to be dictated to by the media, or have preconceptions about it. If you like it, great. If you don't, fair enough.
People keep saying, 'Oh, you're getting all these great reviews, that must make you really happy.' I guess it does, but mostly it's just a relief.
The fact that people still talk and obsess about 'Twin Peaks', more than twenty years after the fact, is a great validation for what we thought we had going at the time.
If other people think I'm okay looking, that's great, but I don't see it myself. When I look in the mirror, all I see is a bunch of fake teeth and football scars.
One of the great, truly extraordinary privileges of being an actor is to interact with individuals from all walks of life, you know, from avocations that you wouldn't ordinarily interact with or people you wouldn't ordinarily interact with.
The great fun for me is these collaborators. I'm nothing by myself. Being with these people, whether it's the 'Homeland' cast or stage collaborators, they make you everything you are. They make you come to work. They make you be alive.
I just want people to get lost in the story and at the end kind of sag and say, 'That was fun.' It's hardly my desire for them to sit and think, 'What a great literary image.'
Within the microcosm of a film you get drawn to people. There are certain projects you care enormously about, and 'The Edge Of Love' was one because I was portraying a great hero of mine, Dylan Thomas.
Brown v. Board helped unite us all, and gave us all great pride knowing we all are truly E Pluribus Unum - one people out of many.
I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.
Leaving Egypt and the people I loved so much, and the environment I liked, was definitely worth it, because I also have great love for medicine and science.
The great thing about novels is that you can be as unshy as you want to be. I'm very polite in person. I don't want to talk about startling or upsetting things with people.
What's sometimes really overwhelming in Sweden is the uniformity. People kind of disappear by all looking the same and wearing the same clothes. There are a lot of great individuals, but it can become a very blank and bleak picture.
It's great to see countries like China and India lifting hundreds of millions of people out of poverty by essentially copying Western ways of doing things.
