Every movie that I've picked, from my first film on, has been considered by everyone to be 'career suicide.' And I have an amazing life. I have an amazing career. I work with artists. But I'm not making 'Spider-Man.'
I've had a very interesting career. I get to do amazing things and work with amazing people and travel and learn languages - things most people don't get the opportunity to do.
I've gotten to work with amazing people. I would say usually we get to a point before we get into the studio where there isn't that sense of anxiety or nervousness of who they are because I don't think it would be as productive in the studio if that was the case. But maybe meeting someone like Neil Young for the first time made me anxious.
My main trick is to work with amazing people. It's a long and twisty journey, and you need people that really are amazing and have this rare gift of honesty and courage and really open up.
You're working with models who are looking at their watch, and it didn't work for me. I wanted to have relationships with amazing people.
Netflix, Amazon, iTunes - whatever platforms emerge - we are looking at as having the same potential that home video had for the movie business. Which means there are entirely new opportunities to monetize our capital investment in content and do so in ways that work for distributors, for consumers and for creators.
The iPod is a proprietary integrated product, although that is becoming quite modular. You can download your music from Amazon as easily as you can from iTunes. You also see modularity organized around the Android operating system that is growing much faster than the iPhone. So I worry that modularity will do its work on Apple.
I don't put Tesla in the Amazon category. They have not proved to me that, as a financial model and an economic model, it is going to work.
I've always been a fan of the Dark and Lovely brand. I grew up using their products at home. I only work with brands I believe in, and I'm so happy to be a hair color ambassador.
Along the way, I learned a lot about being told I didn't have the right skills for the jobs I wanted and how to overcome the setbacks and keep pushing forward. This is why I've become an Ambassador for LifeSkills, a programme created by Barclays to help one million young people get the skills they need for work.
I first decided to become an actor at school. A teacher gave us a play to do and that had a major impact. At first, I wanted to work in the theatre, but there was something about the ambience of film, especially American films, that always attracted me.
When I first started making ambient music, I was setting up systems using synthesizers that generated pulses more or less randomly. The end result is a kind of music that continuously changes. Of course, until computers came along, all I could actually present of that work was a piece of its output.
I loathe categorization. I cherish my independence, and I treasure chivalry. I live just fine with ambiguity, and I welcome a good quarrel about all things designed or grown - except for when men misnomer 'confident' with 'poised' and 'passionate' with 'feisty.' I work hard.
His ambition for victory sets Mourinho apart. He wants to win every game, so he prepares all the smallest details; in training, at the game, everything. I loved to work with him.
I'm ambitious. I work hard.
I've always been ambitious. I've always been able to roll up my sleeves and get to work. I like to stay busy. I love working, and I love being creative.
Some people have human muses - mine is a city. I feel a startling ambivalence towards London, but for better or worse my work has come utterly to depend upon it.
I always tell people this when they're looking for an agent - they should love your work. You are entitled to work with someone who believes in you. Why do business with someone who is ambivalent about you and your art?
Ever since I was quite young, I was in St. John's Ambulance or the Red Cross; latterly, I've been involved in voluntary work with the mentally handicapped and Abbeyfield Old People's Homes.
The system is not really particularly amenable to filmmakers who write and direct their own work. It's much more about the studio already having a property that has a marketable concept and then hiring the director on board.
