I love to go to the studio and stay there 10 or 12 hours a day. I love it. What is it? I don't know. It's life.
When I'm 40 and nobody wants to see me in a sparkly dress anymore, I'll be like: 'Cool, I'll just go in the studio and write songs for kids.'
I was in a very lucky position to be able to consider studio films and had decided to not go that route for a very long time until I read a script that I loved called 'Aeon Flux.'
My father came from an intellectual and studious avenue as opposed to a brawler's avenue. So I had to go further afield and I brought all kinds of unscrupulous oiks back home - earless, toothless vagabonds - to teach me the arts of the old bagarre.
I had a place to go to university; I was going to study history. I was in New York doing 'Arcadia,' and I suddenly thought, 'It feels a bit weird to go from a New York stage to Manchester University.' It didn't quite feel right.
At first I wanted to go to university, but I really didn't dare to. I was too self-conscious, being a working-class kid. It was really difficult. I was going to study history, but the professor asked me some questions I didn't understand, and I didn't dare to ask what they meant. I left university and went to work in the Post.
Stuffing is my favorite food in the world! I actually have been known to go buy stuffing and make it in the middle of summer.
As you evolve, you learn that wrestling is not necessarily about stunts or spots. You need to go out and show the audience that they can love you for the persona you are - not because of the risk you're willing to take or the jeopardy you're willing to put your body in.
For Bobby and I to sing R&B and sound black was probably the stupidest thing we could do. White radio stations wouldn't play us because they thought we were black. Black stations wouldn't play us because they thought we were white. Any time you break ground, you go against the grain.
And then, of course, most potters, they go in for earth tones and subdued things, and I like color.
The things that I have said when I was young and curious about whatever the subject matter was, I respect those - those are growing pains. Even if you make mistakes, I go back to those things, my not-so-great moments because those are my truest moments; those are my human moments. I'm not even mad at the things I said that were a little dicey.
I go in to fight just to fight. I don't care about submissions, the technique and all of that.
I like ground and pound; I don't know if it is like a technique or discipline. I like to be on the ground, but I don't necessarily go for submissions or anything.
I've been doing everything people like to see: knock people out, and submissions, and go in there to fight.
It's very hard to go out and make big investments to take advantage of the shale energy if we don't know if it's always going to be there, what price it's going to be there, whether the country's going to allow it to be exported, or whether it's going to go and affect subsidized U.S. manufacturing.
Most countries in Africa have the capacity to be great agricultural producers, but they do only subsistence production. So a family will produce for themselves and nothing more. Why? Because of the systems: The markets are not there to go beyond.
People will now go to films with subtitles, you know. They're not afraid of them. It's one of the upsides of text-messaging and e-mail. Maybe the only good thing to come of it.
People who would go to an arthouse cinema and watch a Swedish movie and read subtitles... it's a small percentage.
We struck out on our own in suburbia with parents who actually helped us get where we needed to go.
In terms of theater, there's not a more supportive theater community than in New York. It's really kind of a real thrill to go there. I mean, don't forget, I'm a boy from the suburbs of Sydney, so getting to New York is a huge, huge thrill.
