There's so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.
In high school, I was sort of friends with the geeks and friends with the socials and everything else and not solidly in one camp. I've always lived on the borders.
I think I have sort of gravitated toward issues that I don't know the answers to, because that's what's more interesting for me to write.
We sort of read two or three big newspapers but we don't get the flavor of the local events, the local news as much.
The hard thing is to stick to things when you have outlived the first interest, and not yet got the second which comes with a sort of mastery.
Mum decided that I could sing a bit, so she put me in a choir, which I hated, and it was just a nightmare. I was a rebellious sort of choirboy.
I've always been sort of interested in the rural countryside. Things happen out there that are very strange to city dwellers.
I wanted to be a vet when I was little, so it never really dawned on me that acting was my career, it sort of chose me more than I chose it.
There's lots of stuff about me being a fan of Cliff but not being gay. Which suggests that he is, but he's not. Anyway, this is Channel 4, let their lawyers sort it out.
London is a small place, and it is very incestuous. People know where you live. Everybody is sort of on top of each other.
Whenever you're writing something that's reflective, you have to put yourself through some sort of ordeal just to understand the way you're feeling.
You know, there are many alter egos and Gorillaz is a collective of alter egos, really. I think anyone who gets involved in it has to sort of accept that nothing is really as it seems.
If somebody thinks they're a hedgehog, presumably you just give 'em a mirror and a few pictures of hedgehogs and tell them to sort it out for themselves.
I'm interested in doing everything and anything that I can to squeeze that creativity out of my brain. I guess I'm sort of a performance rat.
I have far too many skeletons in my closet to think about any sort of serious mention of public office.
If you've got a lot of children, I think you let the other children bring them up more and you just sort of step in and do stuff like every now and again.
'Whiplash' scared me. I feel you should only do projects that scare you to some degree. I get motivated by those sorts of feelings.
How can I possibly stop loving you when it's sort of predestined? — Malcom Lowry to Carol Brown, 1926 (age 16)
I've always been more slight, and I've always sort of felt that I needed to be protected, especially with so many rowdy brothers and sisters.
I have to feel the audience. I enjoy that feeling of community. There's something sort of spiritual about it in a lot of ways. It's like we're all doing this together.
Has anybody seen 'The Notebook' and not cried? I don't know, I don't know if that's the case. It sort of hangs around for a while.
