'Seconds' is all about spaces, and I guess spaces are kind of like people in that they can be haunting and alluring before we even really get to know them, and after prolonged exposure, they can become mundane or oppressive.
The more English is heard in the world, the more gratifying it seems to speak French, and above all to know the culture of our country. They find a kind of French social grace in the language and culture.
I used to see my friend Harland Williams in a lot of auditions. Then you'd see one of the DeLuise kids because they're kind of heavy and character-y. You'd just see a lot of the same guys over the years.
I hardly ever think about audience. I just try to tell a story for me. I write the kind of story I would like to read.
I've always liked working really hard and then doing nothing in particular. So, consequently, I didn't overexpose myself; I guess I maintained a kind of mystery. I wasn't ambitious.
It's kind of hard to spend long hours trying to help people and then find out that the favorite game of the columnist is to sit back and second guess you and try to find something that you did wrong.
The reality is that asking the public to fund political campaigns accomplishes nothing. Candidates continue to seek interest-group support through other channels, both financial and in-kind, and corruption problems abound.
I don't have to try to be perfect because I know that my fans like me for who I am. They like me because I am weird and kind of funky, but still really calm.
Generally with the Oscars or the Emmys there isn't much you can do until the nominations are announced. Then you know what kind of year you're dealing with - what's been overlooked, what the issues are.
The vampire craze is kind of fascinating. We're interested in the idea of immorality and I think we're drawn to people or creatures who can give in to those base impulses and just be bad and not feel bad about it.
I think that everyone is kind of confused about the information they get from the media and rightly so. I'm confused about the information I get from the media.
I would listen to Little Richard and Fats Domino and Chuck Berry, and I would listen to how they played their riffs, and after I taught myself that, I taught myself to play my own kind of stuff.
What is acceptable in our culture, I think, is really detrimental. I think we ought to have a little more ownership over the kind of material and the content that we put in front of people, especially young people.
I always take a story that's kind of out there, like an urban myth. I take some possibility that people imagine, that they are familiar with, and try to turn it into a story.
I read mostly Irish, African, Japanese, South American, and African writers. You can count on Scandinavian literature for a certain kind of darkness, a modern mythic style.
We are searching for some kind of harmony between two intangibles: a form which we have not yet designed and a context which we cannot properly describe.
I sculpted for four or five years. Mostly for my own amusement, I decided to do a picture book, and that was kind of a turning point.
As a kid, I really wanted to have my own show. But when you grow up in poverty, people tell you nothing is possible. So I kind of gave up on that dream.
All I really want to be is boring. When people talk about me, I'd like them to say, Carol's basically a short Bill Bradley. Or, Carol's kind of like Al Gore in a skirt.
In its heyday, the blazer had come to symbolise a kind of conventional decency. Yacht club commodores and school bursars wore blazers. People who played bowls wore blazers.
You can almost judge how screwed up somebody is by the kind of toilet paper they use. Go in any rich house and it's some weird coloured embossed stuff.
