If the kingdom of God had departments, we’d want to work in research and development. We felt like Jesus didn’t hang out at the synagogue, he hung out at wells. Coffeehouses are postmodern wells. Let’s not wait for people to come to us, let’s go to them.
I'm not obsessively a follower of fashion in the way I used to be. But I still have all those magazines I bought at the time because I bought ones that felt a little timeless, more like books.
I have always felt that a lot of the most interesting work, not just mine but other people's, falls into [the] nether area, somewhere between the worlds of documentary and photojournalism (two very vague words) and the world of art. I think a lot of street photography falls into this nether area.
I think I got into acting because I kind of had not much else to do! I guess I was kind of looking for something challenging. I heard about the London Theater scene and it was very different from the upbringing that I had and it felt like a challenge. And the whole sort of London Theater schools, I was told that 6,000 apply and there are like 30 accepted to each one. I was like, "Yeah. Let's see if we can do that!"
It's not often that you get to read something that just feels very original for a star but also something that feels like it's more than just a movie or entertainment. Even though the riots were one of the most pivotal riots in civil rights history, especially for the LGBT community, I knew surprisingly very little about them. You don't learn about Stonewall in schools. It's a bit gross really! So it certainly felt like something that was quite important.
Ralph Fiennes was a big hero of mine acting-wise growing up and while I was training. I just find him so watchable. He was playing this very intimidating character when we worked together and it certainly felt like he was in character off set as well! He was very cool. Before a scene, he'd be like, "Come on. Let's improvise. Let's just do stuff." But Jesus Christ. He's Ralph Fiennes!
Girls seemed to like artists! I felt very drawn to the idea of power, really, and doing painting as a power trip, in a sense. This idea of power has always driven me.
I felt like if I was on Facebook, I would probably spend my days looking at people's profiles, seeing what they do, and feeling bad about not working enough.
Because gay people were so much more visible, violence against gays was more common and reported on. But they were definitely related to each other. In the wake of AIDS, gay people felt like they had to organize, become much more active and visible. AIDS fostered a gay rights movement that made gay people more powerful and more vulnerable at the same time.
I always felt at odds, politically, with people, and with any group of people that congregate and declare themselves as some sort of movement. It's usually motivated by wishing to dominate other people.
For a while I felt like I spoke a different language than my immediate family. It wasn't until my teens that I met and got to know better members of my extended family (my cousin Alma in particular) that self- identified as artists. Something in us clicked together; in the way we thought, in the language we chose to use, in what we enjoyed. She helped me see and appreciate a lot both about myself and my loved ones.
The story revolved around this universal identifiable fear that we must all have, at some point, when you commit yourself to being with another person, to have and to hold until death do us part. It's a huge thing. I just felt like it was a brilliant examination of what would happen, if the person that you trusted implicitly and thought you knew every follicle and pour of, inside and out, started to not be that person anymore, inside. Physically, they're still there, but they're not there mentally.
I knew that they were going to be reading actors for Manute, and I wanted to give it a shot. I wanted a shot to do it, and they embraced that and said, "All right, come on in. Let's see what you've got." So, I went in, and the rest is history. It felt good when I went into the office, and it just worked.
It's really quite an interesting dynamic. I wanted to play to the truth of who Manute was in the first film, while it's also a prequel and the originator [of the story]. It was an interesting dynamic to work with, definitely. I haven't seen the film yet, but the way it felt when I was doing it, it felt like it worked.
We're getting the blues about having to walk away from this whole thing. We enjoyed it a lot and it all felt good. We had a good experience on it. We thought we could do good work together. And it is unusual to get the next one, straight off the bed. John is funny. When he gets moving, he moves pretty quickly.
I've never been a snob. It [movie] is just about stories. And I've never felt just because it's a big screen and you plop down your eight bucks that gives it a special meaning. It's just "Are you good at telling a story?"
I was beating Amanda Lim to death with the tire iron, I accidently hit her in the finger. It was a fake tire iron, but it was run through with metal in the middle and when she looked up after the take, she was crying and it really hurt her and so I felt pretty terrible about that, but they got back at me when I had my big fight with Casey at the end and she just beat the bejesus out of me, being the amazing stuntwoman that she is.
I love Death Race, it's one of my favorite films. I thought, "You know what? All that two years worth of work is now gong to be wasted because I'm highly unlikely to direct another car movie straight away," and I felt at that point there was no one who was kind of better at shooting cars, so I thought rather than let it go to waste I would explore the idea of doing commercials, and that's what I did.
I probably sensed the serious formality of the ceremonies and felt what others were feeling then. Looking back, I'd guess that it had opened up a gaping hole in my psyche. In the process of creating art, I might be trying to fill that hole, or to reduce its depth, or to make it feel less hollow. I think that making art could have helped from that moment on.
I've always felt kind of safe on stage, protected. I've talked to other performers about this and they feel the same things, particularly in the live arena. I never get nervous going on stage to do a play. Doing film or television I'll have more butterflies.
Everything beyond getting together felt like a bonus and made everyone feel really relaxed. It's not like people don't scrutinize their own decisions or those of others, of course, but that's both good and bad.
When I was 12 or 13, I started to watch films and understand more about the craft and that helped me to develop. But it also felt like a game, because it was fun. I mean, all of us do it when we're kids to a degree - play acting. But then I came to realise that it's a lovely way to express yourself. So, my passion for it developed as I got older.
Richard [Ayoade] likes working with people that he knows. So, I already knew all of the crew and practically everyone and we all felt comfortable. It's nice to be able to go into somewhere where there's no pressure, and where people are supportive and believe in you.
I wanted to go to university and experience something that I felt like I'd missed. I wanted to be around bright, intelligent young people who were learning about themselves.
With Submarine, when I came out of school, people were so lovely and supportive. And you don't get that experience very often. It felt like a family on-set. So Submarine changed so much for me.
Follow AzQuotes on Facebook, Twitter and Google+. Every day we present the best quotes! Improve yourself, find your inspiration, share with friends
or simply: