Day-to-day life is a lot of work. I work a lot on stand-up stuff, and then day-to-day life and, you know, just living. It's always different. Try to work out, try to stay in shape, and try to have some fun.
My goal all along has just been to work and support myself. I've been really lucky to walk away from the 'Twilight' series unscathed. Somebody asked me recently what it's like to be a star. I thought that was the strangest question. If you saw my day-to-day life, the word 'star' just doesn't apply.
I can be high maintenance for my work when I have to look good, but in my day-to-day life, hanging out at home, I'm happy with no make-up on and my hair in a ponytail.
My work has always dealt with a kind of space that allows one to daydream.
Environment is very important to me. Sometimes I have to perform during the day for festivals, and my music does not work in the daytime. It is nighttime music.
The most important thing at Daytona is, are you going to have friends willing to work with you during the race as far as drafting? You've got to have friends out there. You can't do it alone. You form those relationships as the race moves along.
Ideas matter. Legislative proposals matter. Slick campaigns and dazzling speeches can work for a while, but the magic always wears off.
I got a chance to work with Stallone and De Niro - pretty much sums it up for me. You can tell where you're going in your career by the company you keep.
The praise for 'Cape Fear' will help me work more artfully - I can work with real artists, like Robert De Niro and the directors, and then go to artland, which is the best land to be in in this world.
I would like to work with Jean Reno, and I think it would be amazing to work with Jim Carrey. I would quite like to work with Robert De Niro and probably Christopher Walken.
The moment you think you understand a great work of art, it's dead for you.
I've always been that way where, if something doesn't work out the first time, I won't try to beat a dead horse.
I'm at the right age to work with dead people, but you have to be smart to be a CSI.
At some point, I would like to write a book and other things, but I work best when there is some sort of deadline in my own mind, but not when fifty people or fifty million people are breathing down the back of my neck.
Be able to meet any deadline, even if your work is done less well than it would be if you had all the time you would have preferred.
From journalism I learned to write under pressure, to work with deadlines, to have limited space and time, to conduct and interview, to find information, to research, and above all, to use language as efficiently as possible and to remember always that there is a reader out there.
We know we need bosses and deadlines to help us get work done. But sometimes we can also use an external push to make us have a good time. In both cases, our future self will appreciate the help.
I've been incredibly blessed with good roles the past few years, but none of them compares to the experience of playing Ellsworth on 'Deadwood.' There are times when I've had as much fun or had comparably great material, but as a body of work, playing Ellsworth tops anything else in my lifetime.
Well, one of my favorite ones to work on - besides just about any scene from 'Deadwood' - was my scene with Brad Pitt in 'Assassination of Jesse James'. That was just a fun day.
When 'Deadwood' came along, it was totally like Shakespeare. The long speeches were like soliloquies. If one phrase of a monologue was out of whack, the entire one-page speech didn't work.
