I've always been interested in the Greek tragedies. A few years back, I re-read a translation of the 'The Oresteia,' and that stayed with me, and slowly this idea of using some of those old legends and plays to tell a new story about modern urban life began to form.
I always try to avoid looking at the section where my books would be shelved, but I do know that my most reliable neighbor to the right is Kate Chopin's 'The Awakening', which is dispiriting. That's a book I don't want to re-read.
It is reasonable to have perfection in our eye that we may always advance toward it, though we know it can never be reached.
I think the concept of minute restrictions is kind of complicated. I don't think there should ever be minute restrictions. I think it should always be about how my body feels and how it's reacting.
I always have to poop right before I do a concert. I don't feel nervous, but I think that must be my body reacting.
Our music has always been instant reactive and I guess taking our time to absorb things and say what you really want to say could be much more offensive than anything we've ever done.
Smartphones are always in your pocket. They're about reactive capture.
Of course there are regrets. I shall regret always that I found my own authentic voice in politics. I was too conservative, too conventional. Too safe, too often. Too defensive. Too reactive. Later, too often on the back foot.
We are always getting ready to live but never living.
In my horror movies, I was always trying to deal with real characters and real character drama played by good actors... Laura Linney, Ethan Hawke, Eric Bana, and Tom Wilkinson, people who don't do horror normally.
I've played several real characters, and I've always found it very difficult because you don't want to do an impersonation.
I've got to tell you, I've played real characters before and people always bring up this word 'impersonation,' and I'm never entirely sure what it means.
M*A*S*H offered real characters and everybody identified with them because they had such soul. The humor was intelligent and it always assumed that you had an intellect.
You have to always try to think about them like real people first, and not just heroes. They have to be real characters. As people do more and more superhero stuff, the characters are what distinguish it, just like in cop shows.
I love movies that make me cry, because they're tapping into a real emotion in me, and I always think afterwards: how did they do that?
I search for the realness, the real feeling of a subject, all the texture around it... I always want to see the third dimension of something... I want to come alive with the object.
You become a different writer when you approach a short story. When things are not always having to represent other things, you find real human beings begin to cautiously appear on your pages.
When you make an exploitation film, you always want to have a real issue. That's how they were always done.
The government will always tell you that it wants low inflation. The real issue is the horizon over which to bring inflation down.
Whoever says Real Madrid are dead is always proved wrong in the long term.
