The Gospel itself is angular. It always has been. It always conflicts. It always challenges every generation. It challenges different generations in different ways.
The first comedy screenplay that I wrote was Animal House and I always thought I could and should be a director but no one was about to give me that opportunity on Animal House.
I became a vegetarian at 15. I was always an animal lover and, as a teenager, became increasingly uncomfortable with the idea of eating meat. It was then that I started to research vegetarianism.
Some kinds of animals burrow in the ground; others do not. Some animals are nocturnal, as the owl and the bat; others use the hours of daylight. There are tame animals and wild animals. Man and the mule are always tame; the leopard and the wolf are invariably wild, and others, as the elephant, are easily tamed.
I'm always interested in looking - historically - at how theater can animate history and how all of that can make us engage with our lives in an enriching way.
I'd love to be animated. I've always wanted to jump off of a bridge and not be hurt, like Bugs Bunny.
I have always appreciated designers who dare to reinterpret fabrics and proportions, so I follow the Japanese and Belgian designers. The pieces are so animated. When they lie still, they are one thing, but once you stand them up or wear them, they become something else.
Animation has completely changed, and I've always been a big fan.
It's always hard when you're working on a project, and you're seeing it in bits and pieces, whether that be film, television, video games, animation - you only really have perspective of what you're interacting with.
Disney was not a good animator, he didn't draw well at all, but he was always a great idea man, and a good writer.
I've always wanted to be an animator. That's an ultimate art form, right there.
There's always kids who become stop motion animators. I get stuff all the time. They put it on YouTube. It's exciting to see.
I always had a sense that I would fall in love with Tokyo. In retrospect I guess it's not that surprising. I was of the generation that had grown up in the '80s when Japan was ascendant (born aloft by a bubble whose burst crippled its economy for decades), and I'd fed on a steady diet of anime and samurai films.
Ankles are nearly always neat and good-looking, but knees are nearly always not.
My lighter, more superficial side will always steal a march on the deeper side and therefore always win. You can't imagine how often I've tried to push away this Anne, which is only half of what is known as Anne - to beat her down, hide her.
Radio 1 has always championed women; take Annie Nightingale, for example. One of my heroes.
I was constantly, always and forever, trying to perform the musical 'Annie' for anyone who would listen, and I have a terrible singing voice. It was the first thing that made me think I wanted to be an actress.
I started acting as a child in Community Theatre but I didn't do any serious stuff. It was all musicals like 'Annie' and 'Wizard of Oz.' I was always in the chorus.
I think I always have Woody Allen in mind whenever I'm creating anything. He's such a genius, and I think 'Annie Hall' is one of the greatest movies ever written.
I love 'Annie Hall'; I will always come back to that film again and again. Diane Keaton has been such an inspiration to me. She always brings humour, but complexity, and I love watching her on screen. She's got real charisma.
