I always told myself never to have a plan B - I feel like that's also one of the reasons I'm doing what I'm doing now, because I just never really rested until I got here.
I try to play characters who are different from myself, so I feel like this character is someone who is really different. I actually think that if I did what he did in this movie, I would get a restraining order put against me.
I work hard, and I do good, and I'm going to enjoy myself. I'm not going to let you restrict me.
I'm not going to restrict myself as an artist.
If I'm O.K., I will abandon restrictions and curbs imposed on myself. Not physical ones, but those restrictive tabs on my inner being, on solely myself. I will strip me of superficial dishonesties. I will paint against every rule I or others have invisibly placed.
I think if I ever stopped pushing myself, I would revert quickly to quite repetitive, restrictive behaviour. But in pushing myself and concentrating on what I can do, I think I can contribute to society. And that gives me the desire to keep pushing, to see what I'm capable of. The thing to do is not to stop.
I see myself as a private-equity investor that helps rebuild companies. Restructuring is a cottage industry in that there aren't that many serious practitioners.
Perfect retention. I don't think I could do that-I've never disciplined myself to do it. I suppose a lot of it is a question of discipline. Which improvisation is not.
There is a probably natural and learned reticence with myself talking about my early life.
If a band or artist isn't tweeting or writing posts on Facebook every day, there can be this kind of mystique built about them, and I find myself retreating from the spotlight more and more.
Maybe one day I can have a reunion with myself.
I never engage negatively with reviewers. If someone says something that enrages me, I do what I do on stage. I make a joke about myself and move on. Sometimes people say things that are manifestly wrong or even apparently malicious. That's fine, too. It's a response.
I started on computers with 'Billy Bathgate,' a little orange screen with black letters. I thought it was really cool, but it actually slowed me up for a while because it's so easy to revise, I tended to stay on the same page. I've learned to discipline myself.
I paint very messy. I throw paint around. So when I let myself do the same sort of thing with my writing, and I would just write and write and write and revise, that's when I found my rhythm in writing.
I've never revised my opinion of myself as an actor. I've always thought I was as good as my material.
It's possible that I've matured as a writer, and I hope I've matured emotionally, but I always find myself revisiting these adolescent scenes.
My philosophy is, it's always very rewarding when you can make an audience laugh. I don't mind making fun of myself. I like self-deprecating comedy. But I'd like you to laugh with me occasionally, too.
Writing by myself, I spread that out more. I'll spend more time on a song then. I'm more critical about it, because there's no one else in the room to tell me, 'That's really not translating. I'm not getting what you're saying.' So, I'm constantly rewriting it, thinking, 'No, that's fine,' and going back.
Making words rhyme for a living is one of the great joys of my life... That's a superpower I've been very conscious of developing. I started at the same level as everybody else, and then I just listened to more music and talked to myself until it was an actual superpower I could pull out on special occasions.
The Premier League is a competition that suits me, which is perhaps more praise to myself. It's more direct, more rhythmic than Ligue 1.
