My own brand will stand or fall because of me. Dior won't fall if I fall. It will also still stand if I'm not there. I'm coming in there, and it's like a - I don't know the English word - like a passage.
There are always moments of despair when you get close to jobs and lose them at the last second. It feels like getting punched in the stomach. You feel like, 'Why do I do this?' Then you go to bed, get up the next day and forget about it.
I don't dislike my peers because they're still around and remind me of what I'm doing. I never liked them anyway. I never liked U2, the things they've done over the years.
Hardly anyone liked R.E.M. who didn't like them way too much, so part of being an R.E.M. fan meant getting wildly overinvested and then feeling vaguely disappointed by whatever they did next.
I was taught coming up in the Phillies organization to be seen and not heard by people like Pete Rose, my hero growing up, and players like Mike Schmidt and Steve Carlton and Manny Trillo.
If incredible creatures like sharks can exist, why not Bigfoot? When I look at sharks, they're the most terrifying, monstrous, dinosaur-like things. To this day, I'm so fascinated by them and can't get my head around how they are on Planet Earth at a...
My thing is, I like to do things as long as they're relatively fluid or easy. Not to say that there isn't any effort involved in making something happen, but I don't like to push things or force things too much.
Eventually I would like to touch all the genres. I would like to do some detective stories, and I want to do a Western. I would want to do humorous Westerns.
Going to a grammar school, you mixed with all sorts of different types and I used to listen to how they talked. When I did my imitations, I could sound like someone really rough, or I could sound like a cabinet minister.
I trained like an animal, but the thing is focus and concentration. When the bell rings it's like when the little red light goes on over the camera. And I can usually nail my lines on the first or second take because I'm right there.
The human mind is like a fertile ground were seed are continually being planted. The seeds are opinions, ideas, and concepts. You plant a seed, a thought grows, and it grows. The word is like a seed and the human mind is so fertile!
The stage is like a laboratory where you can run theatrical experiments, imposing interesting conditions on the cast or story and seeing how they pan out. Each new play is like creating a tiny virtual universe enclosed by the confines of the stage.
I don't follow other players or the tournaments they play. I have my own schedule and do my own thing. I never really think, 'Oh, I want to be or play like so-and-so.' I just like being myself.
As a viewer of TV shows, I always like shows more when I just feel like the people in charge have a plan. You can just tell sometimes, 'Oh, there's a plan there. They have an idea for how this is going to unfold.'
I like building and making things. I, perhaps, would like to try my hand at directing one day. Sometimes I fancy myself as an architect - but I think I might need to go back to school for that.
In auditions, you're not up against anyone else; you're both going in for the role, and it's like, whoever's right for it will get it. It's simple. It's not like, 'Oh I won!' There's never that element. It is very supportive.
I feel like I am a lot of who I am because I watched these shows that said it was okay to be a total weirdo. Shows like 'Pete and Pete,' 'Hey, Dude,' 'Salute Your Shorts' - that's what I grew up with.
I like to talk to people. I've got one assistant, one Blackberry. That's my overhead. I don't text that much or email. I like to sit down face-to-face and have a conversation with you. I'm old-fashioned.
As an actor and a writer, the anxiety about doing TV is that you start to feel like you get married to one tone or one kind of idea and you feel like you want to be able to express a lot of different things.
I would never write realistic prose. I don't like people who try to write in a poetic style, but in the course of their book abandon it for realism, and weave back and forth like drunkards between the surreal and the real.
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.
