I had the classic 40 meltdown. I did. It's embarrassing. It was pretty funny. But then I recovered. To me, it was like a second adolescence. Hormonally, my body was changing, my mind was changing, and so my relationship to myself and the world around me came to this assault of finiteness.
As an adolescent, I was painfully shy, withdrawn. I didn't really have the nerve to sing my songs on stage, and nobody else was doing them. I decided to do them in disguise so that I didn't have to actually go through the humiliation of going on stage and being myself.
I feel like when I was an adolescent, and felt so unworthy of love and so empty, I moved outside of myself.
In college, I think I probably positioned myself as an aspiring writer, meaning I dressed sort of extravagantly and adopted all the semi-Byronic affectations, as if I were writing, although I wasn't actually doing any writing.
There are some who would like to see the oil rigs removed right down to the ground once their job is done, and there are others, and I count myself among them, who think that once they are in place they begin to be adopted by life in the ocean as a habitat.
They say that people teach what they need to learn. By adopting the role of happiness teacher, if only for myself, I was trying to find the method to conquer my particular faults and limitations.
I have never given adoration to any body except myself.
I am self-centred. I just adore myself.
I adored 'Breaking The Waves,' so when Lars von Trier wanted me in 'Dogville,' I was beside myself with joy. He works in a way that nobody I've ever worked with works.
No person can be more deeply sensible than myself of the danger of entangling alliances with any foreign nation. That we should avoid such alliances has become a maxim of our policy consecrated by the most venerated names which adorn our history and sanctioned by the unanimous voice of the American people.
For many, hair is just hair. It's something you grow, shape, adapt, adorn, and cut. But my hair has always been so much more than what's on my head. It's a marker of how free I felt in my body, how comfortable I was with myself, and how much agency I had to control my body and express myself with it.
If I'm in danger then it's usually my fault and it's up to me to get myself out of it. I am not in it just to get an adrenalin rush. No way!
There are three things I look for in a story - it has to be a thriller; I cannot see myself writing literary fiction or a saga! There has to be a historical connection; otherwise, the adrenalin will not flow. And I will try to bridge the gap between 'Rozabal' and 'Chanakya'.
I don't have a style. I've never thought of myself as a stylist like the visual stylists I admire enormously - Adrian Lyne, Ridley Scott, Alan Parker - in which every shot has a great idea in them.
Every movie, I find myself adrift at the beginning of the movie, and then I find my way through the dark forest.
I always say to myself that if I can make a movie that makes a kid smile or gives them some hope or something to get excited about, then I'm applying myself in the best way that I can. I don't think that just goes for kids. I think that it goes for adults, as well, and for families.
When I'm on stage, I get real happy there. Maybe that's the only time in my adult life I feel like myself.
All my adult life, if I didn't have several hours a day to sit in a room by myself, I would get antsy and irritable.
That's one of the nice things. I mean, part of the beauty of me is that I'm very rich. So if I need $600 million, I can put $600 million myself. That's a huge advantage. I must tell you, that's a huge advantage over the other candidates.
Yeah, we pretty much had a form and a shape by that time - a style - and I think one of the advantages of not having any relationship to any other puppeteer was that it gave me a reason to put those together myself for the needs of television.
