It usually starts with the director and any other creatives who may be involved at the start. It's a collaboration. I bring what I have naturally and, hopefully, what they cast me for, and then we start playing and tweaking until we have what they feel's right. It helps to have some artwork to inspire me, but I don't always get that luxury.
I think it's always worth remembering that people sending off mean tweets are probably pretty lonely people.
I can almost always write music; at any hour of the twenty-four, if I put pencil to paper, music comes.
Ever since I was a kid, I was always a fan of hip hop. If you get your limelight whether your sixteen or twenty-one or wherever you're at, you get your lime when you get your lime, but if you're a part of hip hop and a child of hip hop, then you will always be a part of hip hop.
I've always been fascinated with twins.
Sabbath is always some of the best music ever. And the reason is because it grooves. It's funky. It's heavy. It's got lots of great changes, twists, and turns.
My fans have always been so supportive, and several years ago, I realized that I could thank them by naming all my characters after my Twitter and Facebook fans.
I was working as a secretary in Manchester and thought I would always do that. Then I got this letter offering me a two-year fellowship where I could write; they would pay me a salary and give me a flat to live in. It was heaven.
Creating the characters is the most creative part of the novel except for the language itself. There I am, sitting in front of my computer in right-brain mode, typing the things that come to mind - which become the seeds of plot. It's scary, though, because I always wonder: Is it going to be there this time?
But I always like to play ugly people who think they're pretty.
I've always felt more at home in the UK than in France.
Whenever you have political conflict, such as the one that we have now between Russia and Ukraine, but also in many other conflicts around the world, it has always proved to be right to try again and again to solve such a conflict.
My father was an amateur oil painter, so some of his oil paintings were on our walls. There was one above the piano of a famous Ukrainian poet, Taras Shevchenko, playing an instrument known as a bandura. I remember that one kind of resonated with me; it was always central in the living room.
My Ukrainian grandmother would tell amazing stories. She lost her father, and as children, we would always listen to her stories.
I always have a guitar or ukulele in the trailer, and I write songs. That keeps me in an artistic mind-set.
All of us know that when the confidence of a private conversation is breached by a party with ulterior motives or one who simply misunderstands what the speaker says or means, the speaker can always be embarrassed.
We always have hoped that American diplomacy deploys itself in dialogue and persuasion rather than by ultimatums. That is the path we want in international relations.
Every few years, I think, 'Maybe now I'm finally smart enough or sophisticated enough to understand 'Ulysses.' So I pick it up and try it again. And by page 10, as always, I'm like, 'What the hell?'
Immigrants have always come into the country with low levels of education. Whether it's the Irish or Italian or Polish, here is the land of opportunity. It's where people come in at the bottom and build themselves up. To try to bring in people who have already made it is un-American.
Always the notorious red-light district of sports, boxing today is as troubled as it was even in the days when the Mob called the shots. There are too many lawsuits and too few heroes. Absurd mismatches and fraudulent rankings by unaccountable offshore sanctioning bodies have disgusted fans.
