I wanted it to be as multi-windowed as possible, so that the reader felt like they were seeing all the different ways in to a big haunted house.
Children like their mothers especially to be standing still and watching them, even if they are sleeping. At least that's how I felt. There's nothing wrong with the self-interest of children; it's just the way they are.
When I was 11 years old and I was on a road trip with my family. I turned to my dad and said, "Do you believe in Adam and Eve?" And he said he didn't think so. I remember that felt like a slap in the face, because if my parents questioned Adam and Eve, then they potentially questioned everything within Catholicism. Eventually that idea led to my feeling liberated, but at that time it was very scary.
When I was in acting class, we did a lot of really serious scenes, and we didn't do comedic scenes. I felt like doing those scenes, it didn't come out of my mouth the right way. I don't know if it's because my voice is different, or what it is about me, but it just seemed a little off.
The documentaries were something that I could do for a small amount of money, and then I felt like as long as I found the truth in the stories I was telling as a doc, I could teach myself filmmaking through doc filmmaking.
I always wanted to be a musician, 100 percent, my whole life. I went to school, I did music theory, I did voice training and piano lessons, and while I was a decent musician, it didn't seem like enough for me. I felt like I wanted to make more than just music.
I just think it's really funny and entertaining. I mean, I don't necessarily take them really seriously - I don't even think a lot of really good films get seen. But I don't think that's what it's about. I mean, how amazing was Ellen Burstyn in Requiem For A Dream ? Especially as she was acting with herself most of the time. I don't understand how a performance like that can't win. I was so affected by that movie that I had to turn it off. I felt as if I was on drugs and my heart was about to leap out of my body.
I just felt that you can't have a character fall in love so madly as they did in the last movie and not finish it off, understand it, get some closure. That's why the movie is called 'Quantum of Solace' - that's exactly what he's looking for.
The only time I felt like a weird exploiter - even though I knew I wasn't one - was when I was writing a sex scene between me and my adorable co-star [Adam Driver] in which he had to tell me how much he loved my potbelly. It seemed like a weird wish-fulfillment thing, where I'm directing my own fantasy.
I wasn't allowed to watch MTV before school, but somehow I managed to, when I was five or six and Fiona Apple's video for "Criminal" came on. She was so odd and dark, and I immediately felt some kind of connection with her. She was also the first person I admired for their looks.
I was a cocky kid, and I felt like I was an adult at, like, 9. I think that's because my parents always treated me as an adult.
People are like, "Why are you all dressed up? Did you dress up just for me?" I'm like "No, I dressed up because I'm an adult and I felt like putting on my suit." But I love it. Tom Ford and Ralph Lauren are my two heroes of clothing designers.
It doesn't take a lot to get me motivated. I'm a studio rat. When I was in high school and I would walk into a recording studio, it felt like this magical place, this temple, this womb that I could escape into.
At 10 o'clock in the morning I'd go right in the studio. It feels good to be there in the morning before the day starts to mess with you - I don't mean in a negative way, but before I'd speak to a lot of people or get into anything, I'd go in there and just see what I felt. A lot happens in the morning for me in the studio.
As a person in the public eye, I have always felt that if I have the good fortune of being able to shed a spotlight on different causes that I feel passionately about...
Even though I never really had to pound the pavement as an actor, I always worked really hard. But, at the same time, I always felt like people thought that I didn't have to struggle even though I was struggling.
My problems seemed so glamorous to other people, and everyone just thought I was so lucky. But then, I was lucky because my family was really there for me. I think I just felt like I really wanted to hold on to who I was as a person, and try to have as much of a normal life as I could.
I went to public school in L.A., so I felt like I'd been in a coma for three years. I woke up, and moved to New York.
Ever since I was little, I've felt very comfortable on a set. The time is stressful - being creative under time constraints. But there is an excitement and energy that you only have a certain amount of time to get what you want.
It made me feel that I had to work very hard, but I've always felt I had to work very hard to get my own approval.
At college, I felt frustrated thinking three years was a long time and I just wanted a job but afterwards I was in employment the whole time. I got into a theatre company and started doing stand-up gigs for cash, so I lived hand-to-mouth, but there was always enough to pay the bills.
I don't really listen to my old stuff, but on occasion, I would either hear a track on the radio or a friend might play me one, and there was generally a bit of an edgy sound to it, which was mainly due to the digital equipment that we were using, which was state of the art at the time - and I think everyone felt pressured to be working that way.
I grew up listening to my grandfather's stories of our musical past. He would often talk about the orchestras that played at concerts and the musicians who played on Sunday evenings on street corners. By the time I grew up in the '80s, all of this was a thing of the past. I lived vicariously through his stories and often wondered what it would have felt like to have been part of his generation.
By the end of the shoot [of Wrestler], my trainer was pushing me up three flights of stairs to my house and holding my arm like I was an old cripple. I had three MRIs in the first two months of working on the film. I felt like it really was over by the time we started shooting the movie.
I went to England when I was 13-years=old and then I went again when I was 14. When I went for the second time I felt like the first summer I was there it was a waste because I didn't exist yet.
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