I spent a long time in London on the stage, and you knew exactly what you were going to be doing. You not only knew the performance, but you also knew exactly where you would stand.
When I left Africa in 1966 it seemed to me to be a place that was developing, going in a particular direction, and I don't think that is the case now. And it's a place where people still kid themselves - you know, in a few years this will happen or that will happen. Well, it's not going to happen. It's never going to happen.
When I see an image in my head that compels me, where there's this mystery about what's going to happen next or could happen next, I'll be intrigued. There are so many scripts that you read, and you know exactly what's going to happen, and there aren't too many where you can't tell within the first 20 pages where it's going.
Motherhood to me is something that I always wanted, but never quite knew how it was going to happen.
I knew my focus was going to be somewhere in the arts. I've always painted. I've always sung. I didn't know when or how it was going to happen - or what it was going to be.
I just knew that I was funny, and I knew that it was just a matter of time. I didn't know what was going to actually happen - this is definitely way bigger than I thought - but I knew there was no way I was going to be that funny, and nobody was going to notice it.
I guess as a kid, I was always creative, and I was involved in music, like piano and violin and choir, so I always knew - I always knew that I wanted to do something that would allow me to be who I am. Generally, that was creatively, imaginatively.
With a progressive issue, it was always a monkey that was chasing me down. I had a great fear of losing my hearing. In my gut, I always knew that it was going to happen. I was just hoping that it would happen when I was 50 and not when I was 18.
I knew from the time I was 6 or 7 that music was something I had to do. Growing up, my parents did everything they knew how to do to support me. My dad was always kinda my roadie; he drove me from gig to gig. But I got my own gigs. I was this 12-year-old kid, shuffling business cards, calling people, telling them I wanted to play.
I always worked until I had something done and I always stopped when I knew what was going to happen next. That way I could be sure of going on the next day.
I always had a feeling when I was a kid that I didn't really know what was going on. Everybody else knew stuff that I didn't know.
When you do a TV show, there's always the fear that it will become tired and you'll know exactly what's going to happen.
I always knew that it was going to be an uphill climb to replace Letterman from complete obscurity with no experience, but I think I had to go through it to know exactly what a titanic effort that was going to be.
I knew that's where I was going. I knew we were going to Italy. You couldn't make this movie in America at this price. I knew it was going to be big. I knew there was going to be a ship involved and that there was going to be a set as big as the ship. I thought, well, here we go. But I knew that was where he was headed. He had been going this way for some time. All directors, once they have some success, they want to spend a whole heck of a lot of money. (Something else can't hear.)
I loved repetition. Every time I turned on a light I knew what would happen. When I flipped the switch, the light went on. It gave me a wonderful feeling of security because it was exactly the same each time.
I knew it would happen. I knew I'd be No. 1. I'm a new artist; I don't know the rules. Nobody told me it wouldn't happen