If it was never new and it never gets old, then it's a folk song
The hardest things to do in any art is to risk failure and put yourself out on the line.
I think that when you decide to dedicate yourself to creative endeavors and surround yourself with people who are creative, you very quickly learn how hard it is to survive doing those kinds of things, not to mention make a living at them.
A movie set is like a petri dish for neuroses, you know? It's just, like, egos and weird personalities and, more than anything, fear.
I think it's good to be a little more fearless in saying what you feel. In not being scared of the repercussions of that.
I'm definitely someone that's private. I've never been interested in celebrity.
Early on - certainly in acting - you really have to take whatever you can get. So I understand well how difficult it can be to be in this position where people are just not hearing what you're trying to say or are saying. I recognize that.
To be able to shut off your emotions drastically, I think that the only way you can do that is if you have some of sociopathic qualities.
I've written a lot of music, so to be able to put that together and play some shows around the country and elsewhere - that would really be a fun thing to do.
Coen brothers movies are not always what life looks like but it's definitely what life feels like.
I like being like a chameleon who transforms himself with each role.
I've listened to Dylan my entire life. My dad was a huge Bob Dylan fan, so we listened to his music, Cat Stevens, Simon & Garfunkel, and all that kind of stuff. It opened up a whole world of this music that I'm now obsessed with.
I get attached to things: I wear the same jeans for a year.
There's a reason why actors are always dying to work with the Coens. They just set the stage for you to do their best work.
I would always find a way to blow the deal and I'm not sure why. I think there was part of me that wasn't comfortable with monetizing the music and getting involved with royalties and all that kind of stuff.
When I'm creating a character, I don't see it so much as playing someone else as just playing a specific part of myself under certain circumstances.
There's very few people - like Shakespeare - who, no matter what, were gonna do what they did. For the rest of us, there's a lot of events that have to happen in order for things to end up the way they are.
What's most interesting about trying to figure out AI is the questions that it forces you to ask about the nature of consciousness.
The performances had to be live. When you play it back, you can see if the hands aren't really doing the right thing, and then the whole magic falls apart.
With Shakespeare, there's no subtext; you're speaking exactly what you're thinking constantly.
The superhero aesthetic is all about the human form and showing the body, whether they be female or male.
The idea of not getting a gun is not because I'm afraid of guns, it's not because I think guns are wrong, it's because it's impractical, it's stupid and it's exactly what they want me to do.
I think that's why often people in creative fields can feel so alone is because there's a constant third eye, that constant watcher.
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