I've learned that I want what I deny. I want someone who is crazy about me, who treats me like a princess. I want the picture-perfect fairy tale stuff.
I think that having comedy where people talk the way they really talk, when you talk with your friends and whatever, it's really, it's important. Or else you're making stuff that's a little bit watered down and irrelevant.
As I got into my teens, I started reading better books, beginning with the Beats and then the hippie writers, people like Wallace Stegner up in Northern California, and all the political New Journalism stuff, the Boys on the Bus dudes and Ken Kesey.
People want to know why I do this, why I write such gross stuff. I like to tell them I have the heart of a small boy... and I keep it in a jar on my desk.
As far as expense, I think if 'Twilight' does well enough, then we should be able to do the big expensive stuff for the sequels. I mean, we have to have werewolves, there's no way around it. They have to be there.
The restaurant chefs in Spain are breaking ground, but in terms of the everyday cooking in Spain I still hear people coming back and saying they were disappointed. I think it's because they're expecting the chef stuff.
I studied Latin in high school, and I was reading stuff from Cicero. And that signal took a few thousand years to get to me. But I was still interested in what he had to say.
Before I was a year old I walked and talked and I was even potty trained. When I started going to school I think I got on everyone's nerves because I used to ask adult questions rather than settle for the stuff usually fed to kids.
I've got my own studio, and I've got four- to five-hundred unreleased tracks. I've got stuff that's electronic, orchestral, jazz, I've got rock, I've got metal, you know, I don't have polka.
I think beautiful independent films are made, and I think they're as close to what theater can be because they're not loaded with all of the extra stuff. It's human, and it's more organic, but theater is very unique... It's a different connection alt...
I think every artist subconsciously wants to evolve themselves. Sometimes they get stuck in ruts because of pop culture, peer pressure, stuff like that. But what excites me most is exploring my own musical insights and expanding upon them.
Ninety percent of the research comes first. I mostly blunder around reading stuff and talking to smart people until an idea batters or oozes its way through to my narrative brain.
There's lots of charity stuff that I can do. There are actually a million things to do here, but it would be very hard for me to stop going overseas, because I've been doing that for longer than I've been playing in the WNBA.
I never really got on my own case about my own acting. I know a lot of other people have, and probably very justifiably. But I don't worry about stuff like that too much.
There's almost nothing that distracts you from your day-to-day problems more than a trip. You're totally consumed in the present, you've got new sense impressions, you've got all this stuff to digest.
I enjoy doing martial arts films, but I like the straight stuff, too. I'd like to go back and do some Shakespeare, and maybe knock out a play or two. It's all about keeping balance.
My theater nerd world and my comic friend world are colliding... That's the thing that I was nerdy about, was theatre. I wasn't as much into the comic book stuff. So it's fun to see there are people that are into that that are also theatre nerds like...
When you sit down and write a song, you kind of have the idea for the song, and you sit there at the piano and you kinda just write it. And then of course later there's some dinking around with it and changing some stuff.
If you are well known at something else, you get points for doing stuff which lots of other people do, and much more, and they don't get any points at all. You get over-praised, over-credited.
In the end, it's about the teaching, and what I always loved about coaching was the practices. Not the games, not the tournaments, not the alumni stuff. But teaching the players during practice was what coaching was all about to me.
Well, in Japan, I have got a group of musicians that I have worked with a lot, that concentrate just on the hardcore stuff, say, that Naked City has been working on. We have like a repertoire of sixty songs now.
