I didn’t know then that young girls were a sort of poison, infectious to the man of age; and that men of age justly take woman of age to cure themselves of the diseases of youth.
I'm sure I have a lot to atone for, if there is a judgment day. It's gonna be a long list for me. It goes right up until I was about 18, and then I sort of straightened out.
I studied law at university and was sort of grooming myself to go into that kind of career. I filmed 'The Wedge' while studying, which was very difficult, but I'm proud I completed my degree.
I still find trusting people quite hard. I've got a couple of mates that I do let in, but that's it. It's something I've got to sort out - I cut people off.
I grew up in Lincolnshire, trying to get the daughters of farmers and policemen to like me. It didn't go well until I got to college where, suddenly, there were different sorts of humans.
Actual human discourse happens within a number of contexts, not in some sort of unified public forum.
A portal is a transitionary device of sight or sound that functions as a sort of third gravitating body between the this and the that, pulling us toward itself, allowing us to bridge into the unknown from the known.
I've written songs for Shirley Bassey, Marianne Faithfull, and Linda Thompson. I sort of focus on these wonderful, aging divas. But maybe that's because I think I'm Christina Aguilera.
Brands' products should be the manifestation of a company's values. Those values should be the subject of all sorts of wonderful stories that comprise your company's narrative.
I always wondered what hearing one's own obituary might sound like, and I sort of feel like I may have just heard part of it at least.
I never believe them when they say that because you really have to sort of be aware of what's going on in the news in order to get the jokes on the show.
I think if you hold your nerve and don't sell out and become something that you're not, you can go anywhere. You know, I think that sort of heart and honesty and size travels.
I'm extremely straightforward. And I can't do that sort of traditional girl thing of saying one thing that actually means something else. I never understood it, and I still don't understand it.
Most of all I don't want to be bored. That's why I'd rather do something that has some sort of ambition, that risks failing, rather than make safer, more comfortable choices.
All sorts of creative communities are withering in New York because it's too hard to live here. It's ridiculous how expensive it is.
I wrote 'The Hunger Games' in a chair, like a La-Z-Boy chair, next to my bed. I had an office, but my kids sort of took it over.
I just think the word interview, although it is the view between two people exchanged, became a sort of cliche. You ask questions and the other one answers.
If people ask me, 'For you, what is your most important film?' I have a feeling that they all sort of want me to answer with one of the Bergman films. But I cannot choose.
I feel like there's a witch hunt by some film sites and people that immediately disregard something if it shows any sort of influence.
The guitar is something you kind of embrace, and the piano is something you kind of - when you play it, you sort of push it away. It feels very different.
Presented with the claims of nineteenth-century racist anthropology, a rational person will ask two sorts of questions: 'What is the scientific status of the claims?' 'What social or ideological needs do they serve?'
