I'm doing a Dylan Thomas film, Map of Love, with Mick Jagger producing again. It's a wonderful script.
If you love someone - like, truly love someone - I don't think that ever goes away. But what does change is your perspective on the relationship and the dynamic.
The last thing I'm gonna do is, 'This is dynamite!' That's not my gig, man. I love the mom-and-pop joints. I love giving them recognition, but I'm not gonna blow smoke. We walked out of locations; we've changed locations.
There is nothing like this extended family that is Fleetwood Mac. And I think you have to say, for all the perceived and real dysfunction that there has been, underneath that, there is and always has been a great deal of love. And that keeps pulling us back together.
It's possible to fall in love with somebody who doesn't treat us well, who makes us feel worse about ourselves, who doesn't hold the same respect for us as we do for them, or who has such a dysfunctional life themselves that they threaten to bring us down with them.
I love the English language, but I'm crap at it, so I might as well do what I'm good at. The same goes for my kids, who are also dyslexic. I won't pressure them to do anything. They've each got a trust and a mortgage-free property, which is a lot more than I had, so I know they will always be fine.
When we talk about dystopias, especially in young adult fiction, a lot of them are essentially science fictional futures. They aren't necessarily tied to the traditional concept of dystopia. And so in that space, my impression is that kids love reading about weird, wild, adventurous places, and dystopia fits that bill.
A woman can bring a new love to each man she loves, providing there are not too many.
Each time you love, love as deeply as if it were forever.
I always love going on a safari drive whenever I visit Ulusaba Private Game Reserve in South Africa. I've been fortunate to see so many incredible animals over the years, and each time, it's completely different. Following Ulusaba's pack of wild dogs is my highlight.
I love America. I eagerly became a citizen. I have no bitterness toward those casting directors who dismissed me because of my accent, nor toward the producers and directors who wanted to cast me but thought the audience wouldn't accept my accent. I think they're selling their audience short.
'War Eagle' is like 'I love you.'
I love Las Vegas, but I never get a chance to play a club like the House of Blues. I guess we've graduated to a bigger scale than that. When the Eagles come in and play, that's on a grand scale.
I think I might have been a more interesting actor, had more of a career earlier on, if I had more formal preparation. When I see something ten years later that I was in I think, 'Boy, would I love to do that over.'
In the earliest years of the AIDS crisis, there were many gay men who were unable to come out about the fact that their lovers were ill, A, and then dead, B. They were unable to get access to the hospital to see their lover, unable to call their parents and say, 'I have just lost the love of my life.'
In the early days of love sometimes, you will report an ecstatic feeling you have met someone who seems to understand you without you needing to speak.
I look back on those early days in the theater like the beginning of a love affair, when you're totally in love with the work, and that's all there is.
I can't stop being in parades. I just love dancing on floats that move really slowly on the city streets in the early morning.
I started in theatre when I was 13 or 14 years old and did a lot of theatre until my early thirties. Off-Broadway stuff - off-off-off-off-Broadway stuff - and I do love it.
You are loved just for being who you are, just for existing. You don't have to do anything to earn it. Your shortcomings, your lack of self-esteem, physical perfection, or social and economic success - none of that matters. No one can take this love away from you, and it will always be here.
