A Quote by Derren Brown
That's how I lived for 10 years in Bristol after graduating. I just stayed in my student flat and paid very little rent. It was lovely, and part of me still misses that very lazy lifestyle. I was known as the magician on the street, and I used to dress a little eccentrically in a cloak.
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When I was a little bitty kid, my aunt showed me how to play a little boogie. It took me years. I had to play the left-hand part with two hands, because my hands was so little. Then as I grew up and I learned how to play the left-hand part with one hand, she showed me how to play the right-hand part, and et cetera. My Uncle Joe showed me how to play a little bit different boogie stuff. I had people in my family that was professional musicians, but I just wasn't interested in what they did. I wasn't very open-minded to a lot of music that I'd be more open to today.
The Old Vic is special to me because that's where I began. I lived in New Bond Street in London in a flat that cost 4.20 a week. I split the rent with friends. We used to go to concerts, theatres, we went to the Proms.
When I last went to Italy, over two years ago, I had a lot more trouble understanding the language than I used to when I lived there for a year. I used to speak very little but I could understand very well.
I was living in my lovely little two-bedroom flat in north London... and suddenly, I couldn't just walk down the street and buy a pint of milk.
My mum used to work for the Chanel store in Paris, so for me, I've always been very familiar with the brand because of her. I remember when I was very, very, little, our flat had Chanel shoe boxes, makeup, and some jackets.
I had been used to improvising and even in the audition I was feeling free to rearrange Aaron Sorkin words a little bit, as lovely as they were. I didn't find out until after I got the part how furious Aaron was at me for doing that. They said, "He was livid. He did everything in his power not to jump down your throat!" But I came to realise that Aaron was writing in metre and the rhythm of the language is very important.
After graduating from high school, even though I was working, I didn't have enough money to pay rent, so I stayed with my Nana.
One of the things that I'm so proud of [about] that movie [Brokeback Mountain], was to see, within the past basically 10 years, how much has changed. When the Supreme Court [issued a ruling] just a little while ago, I felt like we had been part, a little part and parcel of that movement.
I've always known I could write. I have an ear for production and melody. It was just that, in those early years, I let everyone do it for me. To be honest, I was a little lazy!
I used to love to create outfits, and I still do - I just don't have the time. How can you wear one thing and never wear it again? Even my wedding dress - I had a dress made that I could wear again. I'm a child of the depression, so I'm very, very practical.
I think one of the dirty little secrets that I try to reveal here is that Washington is not hopelessly divided. It's very interconnected. We're talking about people sort of feeding from the same insider trough, where if you are known as an insider, you are going to get paid and do very, very, very well.
Having a background in doing printmaking and letterpress, I think that I became very interested in images that were flat and graphic. And my painting still today is very flat...American craft is like that too - the painting is very flat. And also the painting that you see on the storefronts, handmade signs, tend to be very flat. That's probably my biggest influence.
There are so little outtakes from the Joy Division era. We didn't have much money. You couldn't be very generous in recording, so we were very thrifty in how we recorded. Everything was very, very well looked after financially because we just couldn't afford it.
I do feel like L.A. has a very supportive and collaborative energy. I felt that in New York too but also there's so much space here! You can have a home studio. In New York you had to rent a room to do a session or to practice. As a solo artist, it was a lot more expensive. Here there is that comfort in lifestyle a little bit more, being able to breathe a little bit more, and creatively flow, not having to stress about how to get our gear there in a cab and pay by the hour, it's just a different vibe.
It's the ultimate for me not to see how it's made. I find it vulgar when you can distinguish how something is made. I used to be a student at the Chambre Syndicale de la Haute Couture in Paris, and once I got to go to a Saint Laurent couture show. Everyone was always talking about how fabulous the tailoring was, but I was transfixed by this one particular dress. It was just a piece of fabric, but as the model was walking, you didn't know how she got into it, how it closed, where the seams were, and that, for me, was perfection. It stayed with me as a lifelong vision.
I used to live in a street in Bristol which was, depending on your tabloid of choice, either Britain's most dangerous street or a moral cesspit. People made judgments about me on where I lived. It affected me - it affected my life chances. That is going on today with people in social housing. That, to me, isn't acceptable.
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