Sometimes directors will hire you and say, 'Oh, we love your work.' And then they start to tell you how to do it. I say, 'Hey, man, back off. You hired me to do it. Let me do it.'
You know, I love plays. I love the smell of a theater. The old rooms and the carpet and all that stuff. I love to tell stories. Even before I was doing music, I saw myself as a director.
I've decided to tell my kids things like: 'I love the way each of you tilted back your heads when you laughed.' I will give them specific stuff they can grasp.
I'll tell you what I love. Sending back bottles of wine that aren't right in restaurants in France! Whoa! I love the French, but I do find their wine snobbery something unbearable.
I always like to play roles where I either love the character or think that it's a story that I can tell better than anyone else. There are always reasons for me to do whatever I do.
Telling people that I wanted to make dance music, or be on the radio, they looked at me like I was crazy because there was nothing like that in Lichtenstein when I was getting started. That's why I went to Germany, because there is industry there.
From the beginning, I knew intuitively that if nothing else, music was safe, and that nobody could tell me anything about it. Music didn't need a middleman, whereas all the other things in school needed some kind of explanation.
I remember Tim telling me that he had an idea for a musical and he said to me that he was hoping that ABBA would be writing the music, which I thought was a pretty wild idea because they were obviously known very much as pop writers.
I want to communicate through my music. If you want to know Geri Halliwell listen to my album: it tells you more about me than a documentary ever could.
Countless hours of physical therapy - and the talents of the medical community - have brought me new movement in my right arm. It's fractional progress, and it took a long time, but my arm moves when I tell it to.
I would like to know that when I read the paper in the morning, it's telling me something that actually happened, and I think the vast majority of journalists want the same thing.
I have too many friends who tell me that they spend the first hour of every morning going through their e-mail messages. I'd like to use my time more carefully.
One thing that I tell people all the time is, 'I'm not going to answer a call from you after nine o'clock at night or before nine o'clock in the morning unless it's an emergency.'
Pick up any newspaper in the morning. Count the words in the lead sentences. There will be at least 25 in all of them: Guaranteed. The writers just want to tell you how many degrees they have from this college or that university.
I always tell students that you've got to be practical. You do not need a dream. You need a purpose, something you can wake up to in the morning when the dream is dissipated.
When employers tell me they prefer married men, and encourage their men to have homes of their own, because it makes them so much steadier, I wonder if they have any idea of all that that implies.
Matt Weiner is very perceptive; there's something about the rhythms and the way people speak that is very authentic to the actor. But there are qualities that are dissimilar. The characters on 'Mad Men' are struggling with pretty profound unhappiness...
I prefer to speak of 'interdimensionals' rather than 'extraterrestrials' because the latter has connotations of 'little green men' and all the other cliche responses. Nor does it tell the full story.
The men are walking. They are fifty feet apart, for dispersal. Their walk is slow, for they are dead weary, as you can tell even when looking at them from behind. Every line and sag of their bodies speaks their inhuman exhaustion.
Four men are missing; R., Sorel and two emigrants. They set out this morning after buffalo, and have not yet made their appearance; whether killed or lost, we cannot tell.
I am not telling men to step away from speaking for women's rights; rather, I am focusing on women to be independent to fight for themselves.
