A Quote by George Blagden
I've worked a lot of historical stuff back in Sweden and there's always conflict with horses. I get a bit paranoid when I'm on them, and they can sense that and they get a bit paranoid. It ends up in this bad spiral where I don't want to be on them, and they don't want me on their backs.
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If I get back into theater, I think I'd want to do a play. I enjoy singing, but it beats me up a bit. I get super paranoid and self-conscious about my voice.
I always do get a little bit paranoid when I get a lot of attention. But I get used to it.
You do get a bit paranoid that you're becoming a sort of narcissist, an artistic solipsist when you're doing stand-up.
In the make-up trailer there are always lots of trashy magazines and it's always quite pleasant to go through them in the morning. That's when I realized, "Oh my, it's quite nasty". There was a lot of pressure on Daniel Craig. He was quite nervous and paranoid, especially in the Bahamas on the beach, lots of paparazzi. Even on me in France - nasty things! Like I was going to get fired, I was so bad.
I thought that the fashion world could be a bit fake sometimes, but it's nothing compared to Hollywood. These girls would walk over their grandmothers' graves to get a part, and the producers talk about actresses like they're dirt, picking over every part of them so that they end up paranoid and having surgery.
If an artist is going through a lot of bad publicity, I don't want to ask them about that. If they want to talk about it, I'll make them comfortable enough where they can bring that up on their own. Not only do I want them to feel comfortable, I want them to come back.
I'm a bad interview because I want to always feel like I'm being totally honest, but at the same time, I'm absolutely paranoid. That combination results in a lot of spaces.
We gotta break these double-standards and get women to loosen up a bit. We gotta show them that we can do what we want to do how we want to do it. If someone doesn't like it, they can get to stepping.
If you want to be able to use the powers of Flash and Wonder Woman and Cyborg, you have to have bad guys who are up to snuff and give them what they can really kind of get their cars out on the track and open up the accelerator a little bit.
For the really scary stuff to work at the end you have to fall in love a little bit with the family and want then to be ok. And once you get the audience to buy in on that then they care. They want them to be okay.
It's almost kind of satisfying when you get direct proof that someone stole your bit. It makes the times you had the paranoid suspicion feel less crazy.
I get a bit nervous because I just want the show to go well. I think you always have to be a little bit nervous, or else you're a little checked-out, and that's maybe the time when you're not doing your best stuff, because you're kind of just checked-out and falling back on stuff.
I feed off the crowd a lot. I love to see their faces, singing the words. I feed off their emotions. I want to give that back to them. I want God to speak through me to the crowd. I want to get them excited about their faith. I always want to give it my heart and soul.
The idea of the paranoid style as a force in politics would have little contemporary relevance or historical value if it were applied only to men with profoundly disturbed minds. It is the use of paranoid modes of expression by more or less normal people that makes the phenomenon significant.
The main thing as a director, you always want to have a bit of a worry about the material you're going to get yourself into. You want to be a bit scared of it so that you have that excitement of having to climb the mountain.
I don't know, maybe I'm overly paranoid that they're going to be spoiled, but I want to keep them going as kids for as long as I can. I want to keep them innocent and free.
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