Nature's patterns sometimes reflect two intertwined features: fundamental physical laws and environmental influences. It's nature's version of nature versus nurture.
I've always been a fighter. I can get pretty feisty sometimes.
I don't try and write strong female characters or strong male characters, I just try and write, hopefully, strong characters and sometimes they happen to be female.
Sometimes when we think about femininity, we think also fragile. But I think you can be feminine and very strong. I think make-up goes with that femininity. I think it's a natural gesture for women and one they do more for themselves than for others.
It doesn't matter which side of the fence you get off on sometimes. What matters most is getting off. You cannot make progress without making decisions.
I've looked at photographs of myself during concerts and it sometimes looks as if I'm in a fencing move, with a guitar in my hands instead of a sword.
Women are like cars: we all want a Ferrari, sometimes want a pickup truck, and end up with a station wagon.
I do give books as gifts sometimes, when people would rather have one than a new Ferrari.
Sometimes I think being an actor is like being a dog for a director; it's like they throw a stick, and you want to fetch it and bring it back to them. You want a pat on the head for it.
'Fiancee' is a very fun word to say, because I never thought I would have a fiancee or be a fiancee. Sometimes when I would introduce myself and say, 'This is my girlfriend Melanie,' it wasn't always clear what I meant. Now I get to say, 'This is my fiancee Melanie.'
Sometimes I use a bungee, one of those bungee cords that offer resistance training. I find that useful. Like, I'll go out and hit a backhand or a forehand with resistance. Because when you get rid of the resistance, you've recruited more muscle fibers, and it definitely helps with speed.
I suppose all fictional characters, especially in adventure or heroic fiction, at the end of the day are our dreams about ourselves. And sometimes they can be really revealing.
My characters are fictional. I get ideas from real people, sometimes, but my characters always exist only in my head.
In many ways, playing a real person is slightly easier because you have a road map. When you're playing someone fictitious, there's myriad ways in. With a real person, there's boundaries, and that sometimes makes the work easier.
If you only sign the players of one FIFA agent, sometimes you can make the deal, sometimes you can't.
Sometimes you don't want to get married too much to a lot of rehearsing, I feel, when it comes to film, because there's so many technicalities. So if I'm in my head, I've gotten settled on something, I'm gonna have to change it if I get there and something was set that's completely different.
People on series are now given a lot more opportunities, sometimes more than film actors.
In narrative cinema, a certain terminology has already been established: 'film noir,' 'Western,' even 'Spaghetti Western.' When we say 'film noir' we know what we are talking about. But in non-narrative cinema, we are a little bit lost. So sometimes, the only way to make us understand what we are talking about is to use the term 'avant-garde.'
Sometimes it feels as if the artist hasn't done the real work of engaging with the material. Film noir can't just play off looks and attitudes. A thriller needs a dose of genuine suspense. It does not have to be literal, but it does have to feel genuine. Otherwise the artist is just leeching off the form.
Sometimes I feel like doing smaller budget stuff. When I did 'Young Adam', for instance, I'd come out of 'Black Hawk Down' and 'The Island', and I really wanted to be on a small film set. I wanted to be on something intimate and small again, and then 'Young Adam' cropped up in a pile of scripts I was sent.
