When you say 'Hello Wembley!' you're not just saying hello to a large shed. You're saying, 'Hello, I'm following all the greats that have played here before.'
And I found Jesus very disturbing, very straightforward. He wasn't diplomatic, and yet I felt like if I met Him, He would really like me. Don, I can't explain how freeing that was, to realize that if I met Jesus, He would like me. I never felt like that about some of the Christians on the radio. I always thought if I met those people they would yell at me. But it wasn't like that with Jesus.
We had a great connection with Pedro Almodovar from the beginning. Even before I met him, it was so strange. I felt like I already knew him. I loved him even before I met him. It was so powerful. And when I looked at him in the eyes, this was the feeling that I knew I was going to have with him. It gets bigger and bigger every day. I adore him. It's much more than working together. He's a really special person in my life.
I will forever be grateful to my oncologist for opening the door and saying, 'Damn it, the tumor's 10 percent bigger,' before he even said hello.
I feel a whole country growing inside me, thousands of years, millions of people, stupid, crazy, shrewd people, and all of them me. I never felt like that before, I never felt that there was anything inside me, even myself.
I don't like hello. It makes me sound like I have dementia, like I've never heard a phone ring before and I don't know what's supposed to happen next. Hello?
'Funny People' is my favorite performance of myself to date. Even though it's a comedy and there are serious moments, I really felt like Leo felt like a real person. It didn't feel like I was playing myself. Whether it's a comedy or drama, I just try to make it as realistic as possible.
I think I should get a bigger between-the-song persona, so then I'm not wandering around the stage like some mad old auntie that's saying hello to people and falling over.
I don't know how to explain how, probably to my detriment, unselfpromoting I am. I used to have a cabaret act and I didn't even like to tell me people about that. I really hate selling myself.
You should never have to say hello or goodbye. Even at work sometimes, and I know this is very unpopular, is that if I'm going to work every single day, I don't think you should have to hug people hello every single day when you come to work. I saw you Monday!
When I'm tired, I tell myself what the people are saying about me. In that second workout when I'm saying, 'Man, I don't want to do this.' I remind myself, 'They're saying you're old. They're saying you're 33. They're saying you can't do it this year.' I play games with myself off that stuff.
I remove the work should from my vocabulary forever. Should is a word that makes a prisoner of me. Every time I say should, I am making myself wrong, or I am making someone else wrong. I am, in effect, saying I am not good enough.
I identify myself in language, but only by losing myself in it like an object. What is realised in my history is not the past definite of what was, since it is no more, or even the present perfect of what has been in what I am, but the future anterior of what I shall have been for what I am in the process of becoming.
HELLO! Look at me. HELLO! I am so ZEN. This is BLOOD. This is NOTHING. Hello. Everything is nothing, and it's so cool to be ENLIGHTENED. Like me.
Everything I know and I am and I have seen felt done past present past now then before now seen felt done hurt felt focus into a something beyond words beyond beyond beyond and it speaks now and it says. Stay. Fight. Live. Take it.
As a writer, I've always believed that while my work and I myself are embedded in whatever period I am writing about, clearly I am sensitive to the winds that are blowing in the culture. At the same time, I have always felt that the issue was not to deal with the problem in the abstract, but to deal with the people who are in that problem. The emphasis is on the people. The general problem begins to resolve itself even before the play is finished.