It was very interesting growing up in South Africa then. It was extraordinary. It was multiculturalism before it became an issue.
Also, when we did "Smallville," we didn't have an opportunity to interact with people who watched the show. And see what they had to say and listen to criticism and listen to praise at the same time. So a lot of this is a new experience and it's very interesting and rewarding for us. I think we get honest feedback. You get hate. You get a lot of love as well. And I'm actually very curious what people think of the show. For us, it's been a passion project of ours, and an incredibly challenging show to make.
Usually I work out the plot before I start. This time I thought: Writers always talk about not knowing where a book is going - -I want to experience that, too. What I found out is that it's very interesting, but it takes much longer because you have so many false starts. You take wrong turns and you have to go back and start the whole chapter, or the whole section, from scratch.
Making all of those words work together is difficult. It took a lot of cleaning up, a lot of rewriting scenes in order to make them more vivid. I used everything - every oddity I've ever seen on the side of the road, every interesting memory I could make relevant.
I don't think talking about myself making songs is a very interesting topic, there are so many other more engaging things to think about and write about.
It was very interesting time to be in England. Even at that point [John] Lennon and [Paul] McCartney influenced my writing. I thought, "maybe there is a huck or two in here I haven't thought of".
Very interesting show. It's "Hotel" with the E missing. Hot L Baltimore. It was about a rundown hotel which had become kind of a residential not quite welfare but almost welfare hotel with a very bizarre collection of people.The desk clerk was played by Jamie Cromwell. That was his first big thing. Conchata Ferrell played April, the main of the two prostitutes, and my character didn't exist in the [stage] show.
I've often had the fortune to work on projects with a small theme I find very interesting enough to pursue and to be passionate about in the context of the story, then it may turn out there's a universality about my character which still resonates with many people as well.
Alejandro Amenábar is a very interesting filmmaker. I had really liked The Others, which was a movie he made with Nicole Kidman a few years ago. He made a very compelling case about how much he wanted me to be in this movie. Whenever a really passionate, talented filmmaker seems to have an interest in me, I take it very seriously because I like to work.
I could feel the real interaction between directing and acting, when an actor or an actress really suggests very interesting things.
I really did Regression to work with Alejandro [Amenabar]. I found him very interesting. His movie, The Others, is one of the better scary movies of the last period of time.
Very interestingly in a movement that I call now the hijab lobby, sadly promulgated by women that some of us refer to as Muslim mean girls and their friends, are trying to put out this meme that we are denying women their choice.
I feel that I'm in a very interesting position, where I'm standing back to look at this change, at this moment in history of human beings. If the end of the civilization comes before the end of my life, that's lucky! I want to witness how this big story of humans ends.
After a couple of rehearsals and a couple of takes, Sydney Pollack says, "Come here. Why are you not nervous?" And I [say], "Do you think it would be better if I was nervous?" And he says, "No, it's just I can't understand it - how you would be first time on a set, you're acting, when he flubs his line you make up a new line. It's very interesting." It's not that I think I'm great; that's what I knew I wanted to do.
It's very interesting for me to listen to music with my wife. She's not a musician but she very often makes comments about pieces in ways that are similar to what I'm thinking.
I had no idea that that was around in the family anywhere. Maybe it never was. But - so they broke the way for me, if you know what I mean. I have no idea where I got the idea from to do what I do. But I think they - Ian and Alistair, my brothers kind of opened a lot of doors for me onto the world - you know, made it seem to be a very, very interesting place.
There was so much going on. I remember a very interesting dinner in the studio of [Robert] Rauschenberg. He had convinced Sidney Janis, Leo Castelli, and a third big gallery man to serve us, the artists, at the table. So they were dressed up as waiters, we were sitting at the table, and they were only allowed to sit down at the end of the table for the cognac. This is not possible now.
While it's a great indulgence, it's also very interesting to have three bass players on the same track.
It's been a very interesting exercise as a writer - writing a little family group, like The Incredibles or The Simpsons or something like that, and setting it in a big Star Wars-type setting. It's been really fun, definitely different from the kind of thing I normally do.
I find L.A. very interesting, partly because I think something new is forming there, but not in a moment of good fellowship as you might think from all this "diversity" claptrap. It's not as if we'll all go down to the Civic Center in our ethnic costumes and dance around.
Now circadian rhythms become very interesting and problematic for patients because when you become a teenager, your rhythms actually tend to naturally shift.
I feel the same way when I meet somebody in Los Angeles, because I'm from Winnipeg. I'm just a very ordinary girl that something extraordinary happened to. So, I'll go to an event and, say, stand next to Charlize Theron and be like, "Oh my God! This is incredible!" And then you get to talk to her and you find out she's a real person. She's a mom and very interesting. I'm constantly thunderstruck by people that I admire.
I'm a long time [Scott] Fitzgerald fan, as probably everyone in America is. And I've always been fascinated by that theme of, what is the price of the American dream and what parts of your soul do you walk away with? The conflict of art versus commerce was also very interesting to me.
The Iranian government as a whole has no relationship with my films. They're not particularly interested, perhaps this kind of cinema is not very interesting to them.
I think it would be very interesting to see that many people would probably be okay with paying more for services and goods that they felt were more holistically [generated]. Which means the death of the old system which rewarded people for taking advantage of one another.
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