You can shop the clothing line from the app and everybody who subscribes gets 15% off everything. It's a closer look into my life, what I'm like, what I do. I like to make people laugh, so a lot of the content is me being a doofus, which is who I am.
We look at science as the ultimate answer for everything yet we are really messy organisms and when the two collide in the upper echelons of medicine you think science will prevail but it's not always that way.
What's not to look forward to? It's like all the actors in all of the films. It's difficult to get Martin Freeman and I in a room together. Imagine what it's like to get myself, Chris Hemsworth, Robert Downey Jr., Elizabeth Olsen... these extraordinary actors who all have careers outside the Marvel Universe.
Sometimes when you do fight scenes you think, "Oh, I'll be hit in the face," because people get carried away with their vanity and want to look too cool to care, but we were all really careful with each other.
I'm not one for doing the children's party version: "Hi, I'm a character in a movie and now I'm in reality!" I was doing the last shot of the film before reshoots outside their shop. I was starting my run into the frame and I thought, "You are literally ending where this began. The loop of serendipity's too much to not go in and acknowledge it." I just wanted to see the look on their faces.
Inevitably it's going to cause some terrible misogynist backlash, and I assume we'll look forward to eight years of jaw-droppingly sexist statements - the way we listened to eight years of racism around the presidency. It will be an argument before it's a conversation. But at least it's being had.
When I'm on a red carpet I want somebody to feel something when they look at what I'm wearing, when they look at the entire ensemble, whether it be nostalgia or excitement, you know?
I've seen looks before that have literally taken my breath away - like someone on the red carpet and it's just like I can't even breathe, like you get some type of amazing anxiety.
I look at the textures, surfaces, colors, and the individual objects in the painting. And then I wonder: what are the relationships among them? Those relationships are everything.
If I keep coming back to a painting and there's a little something that bothers me, I know I'm not going to get away with it. I'm going to have to fix it, change it, whatever it is, to something that I'm comfortable with, that doesn't make me itch when I look at it.
Once the makeup is on, it's a collaborative process but it's pretty neat to have the makeup sort of speak to you when you look in the mirror and see how the face moves. For me, the personality comes through that makeup and that exploration of how it all looks and moves. You try to make it more unique than just a human with a mask on.
I wanted it to look like real cooking in someone's real home or just so out-of-there bizarre that it would be fun.
I look at it [Moonlight] and young Alex Hibbert who plays the young Chiron gives such a beautiful performance. By the time you get to the third story there have been so many great performances that you forget this kid was brilliant. Everybody does their job. It really is a true ensemble. I wish that were a category at the Oscars.
[Donald Trump] is so unpredictable that foreigners are going to look around and say "boy, we've got to head for the safe havens." And one of the safe havens is Treasurys and [another is] the dollar.
If you look back historically at the post-WWII period on average, if you get a 100-basis-point increase in Fed funds, the spillover to the ten-year is only 35 basis points, and 25 basis points into the 30-year - it's a fairly small spillover effect.
OPEC production went from 30 million barrels a day to 33 million. They flooded the market, and it's lost them a lot of money. Look at the Saudis: they just floated a $17.5 billion debt offering, they earlier borrowed $10 billion from a group of international banks; they're selling part of Aramco - they're desperate for money.
Everything around you can use. It's like your tools and your material. Whether it's in performing arts like dance, or visual arts, or poetry, a lot of those elements can come and help you, can trigger your creativity. But you have to be open, be aware, and you have to be ready to look.
Even if you look in the dictionary you know the meaning of the word or phrase, but there's still the feeling of it.
There is a wonderful documentary called 'A Room to Breathe,' where a school brought in a TM instructor, to try and establish a better classroom environment, and the results and transformations were profound. It's impossible to ignore, and we make some passing references in my film, but 'A Room to Breathe' is a closer look at just how powerful meditation can be.
The number one thing is creating this world ["Trolls" ] - what the world is going to look like, feel like and what technology will we need to use to get there.
It was so complex [in "Trolls"] that the technical team had to build a new program. It was about rendering and manipulating that weird hair. We also wanted to break the mold of what what we thought the princess was about...we wanted to keep her troll 'look' - the stumpy legs, an ugly/cute look, it was all inspired from the doll.
I am busy with my work. My path is clear. I see somebody dying, I pick him up. I find somebody hungry, I give him food. He can love and be loved. I don't look at his color, I don't look at his religion.
I don't look at anything. Every person whether he is Hindu, Muslim or Buddhist, he is my brother, my sister. I think we all do like that.
If you see young tulkus when they're with other little monks, it's like in a Broadway show or something where the main character is spotlighted and the others kind of fade into the background. And you think, who is that tulku? Because that's all you see, even though they're all dressed the same and they're all the same age, but it's like the tulku is illumined. They don't look like the other ones.
We try to be present when we are drinking our tea, which isn't as easy as it sounds. It's very easy to think, right now I'm going to be really present while I'm drinking my tea, here I am drinking my tea, and I'm so present, look this is easy, I am here drinking my tea and I know I'm drinking my tea blah blah blah blah... right? And the one place where the mind is not, is here. It's just thinking about being here.
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