I like characters in life, generally; I don't like to see a collection modelled on a homogeneous look. That terrifies me.
You can't really be passionately moderate. It's like wearing an 'Extra Medium' - it doesn't exist.
I'm obsessive. That's the word for me. I obsess - perhaps to the point where it's moderately dysfunctional. I tend to put a book through about 100 revisions. If anything, that's an understatement. If there's another author out there who does this sort of revision, I would really like to meet him. Maybe we could form some sort of support group.
If I go play 'Modern Warfare,' I'll find a hundred different things I'd like done differently. And I don't have the discipline to not express my opinion.
I think I've become the go-to mustache man. It works in period pieces. Modern-day mustaches are probably creepy. But I get compliments - everyone's like, 'Wow, love the 'stache, dude.'
To say that such-and-such a circumstance is 'Kafkaesque' is to admit to the denigration of an imagination that has burned a hole in what we take to be modernism - even in what we take to be the ordinary fabric and intent of language. Nothing is like 'The Hunger Artist.' Nothing is like 'The Metamorphosis.'
I love listening to things like those wonderful piano pieces of Stockhausen. It's just not my thing as a composer or performer, and thank goodness we're not obliged to be Modernist any more.
I like movies. Movies have afforded me a modicum of luxuries. The thing about the movies is, if you're bad in a movie, you're bad forever.
I'd always assumed that by 40 I'd have at least a modicum of stability - a steady income, an established career, a bountiful fullness, like a pillow into which I could sink as I entered the second half of my life.
I am intrigued enough to want to continue, and also to try and work with companies like Sony on modifying the cameras and making them more user-friendly and efficient.
Chris Ofili's suave, stippled, visually tricked-out paintings of the nineties, with their allover fields of shimmering dots and clumps of dung, are like cave paintings of modern life. They crackle with optical cockiness, love, and massive amounts of painterly mojo.
I had never seen the classics with Molly Ringwald, like 'Pretty in Pink' or 'Sixteen Candles,' or '80s horror, like 'Poltergeist,' 'Close Encounters,' and 'Nightmare on Elm Street.' I went back and watched all of those.
I feel like I wanna have a series of moments. It's scary when they say you're having a moment, because moments are momentary.
Sadly, it seems as if there is no longer any real history. Just momentary reactions to events that disappear like sky-writing with items like Twitter, texts, Meerkat, Snapchat, and Instagram.
I'm not a momentary decision maker. I like well-informed decisions.
I tend to tell stories that have a lot of momentum; it's not like 'and then months later...' I like things where the momentum of one action rolls into the next one so everything is the sum of that.
Owning the Yankees is like owning the Mona Lisa.
The women here in Monaco don't like me, and so I have to watch everything I say and everything I do because they're so critical.
There are no drivers like Formula One drivers. They are engineers, in a way. They are driving manual cars one-handed at 200 miles per hour around streets in Monaco. These cars use the ultimate in technology.
If pushed to say what I like about Elizabeth, who, as I'm sure most of you know, overtook Queen Victoria this week to become our longest-serving monarch, it would be her uncomplaining, getting-on-with-it ethic.
