A Quote by Richard McCabe
It is strange how your understanding of a play changes. It normally happens after a performance and you suddenly think, 'So that's what that line really means' - it's like a light going on.
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I'm now in my mid-thirties, so I look in the mirror and my face is changing, and I have a different relationship all of a sudden with myself. Your face changes, things change - that's just kind of what happens. It's hard, though, in this industry, because I think so much importance is put on how you look, and I'm not brave enough to be like, "You know what? I'm just going to let it happen. Whatever. I'm so cool with every line on my face."
The exercise in theater is night after night you are doing the same play, but you have another opportunity to explore. It changes nightly even because of the audience and your day going into the evening of the performance. With film it's much more controlled.
Everybody is great and the chemistry is different with everyone. That is the joy of acting - you really don't know how it is going to go until you turn up. It's like playing tennis, you can't plan for the match you are going to play until you are actually up against your opponent and what happens, happens. That is the joy of being on set.
User-centered design means understanding what your users need, how they think, and how they behave - and incorporating that understanding into every aspect of your process.
In animation, no one gets to see your face, so you can really mess up with your voice like I did 'ParaNorman;' I was a bully in that, which was so much fun to do. In 'How to Train Your Dragon,' I'm a little Viking character. So, it's kind of exciting to play these roles that you normally wouldn't get to play in a live-action movie.
It's all been a bit of a rush, but I think that happens when you make your debut so soon after leaving school. You've had this dream, and suddenly you're doing it, and everything happens very fast and hardly slows down.
Nietzsche, who you don't spend too much time with after the age of seventeen, did have that one great line about "he who stares into the abyss must know that the abyss also stares into him" and I never really understood that until my friend got killed and you really get your head around the idea of what horror means. It's a truly awful thing, to really, kind of have that understanding of things and when you really peer into that.
It’s strange how things can change back as suddenly as they changed originally. When one thing happens and suddenly, things are back to normal.
Sometimes during a conversation with a journalist - where you are answering things you never normally talk about, not even with some of your closest friends - you end up being quite confessional, and you don't think about the amplification of that. No matter how fancy these journalists are, they have editors or political leanings behind their publications, which means that, basically, they're going to shape what you've said into an article they've already written. So you have to be really careful with your words.
What was weird for me after 'Amelie' was how people look at you. It moves all your relationships and sometimes even your intimate ones, and you don't understand why suddenly everything around you changes, because you are exactly the same person.
He's one kind of person, you're another. When life is going along normally, you're sort of the same. But when life turns strange and scary, when there's a crisis, suddenly you're completely different people.
Now, when you get a viral infection, what normally happens is it takes days or weeks for your body to fight back at full strength, and that might be too late. When you're pre-immunized, what happens is you have forces in your body pre-trained to recognize and defeat specific foes. So that's really how vaccines work.
I always wanted to make a light that looks like the light you see in your dream. Because the way that light infuses the dream, the way the atmosphere is colored, the way light rains off people with auras and things like that...We don't normally see light like that. But we all know it. So this is no unfamiliar territory - or not unfamiliar light. I like to have this kind of light that reminds us of this other place we know.
I don't think anyone except the few people who have played James Bond can tell you how strange and special it is and how much your life changes.
It's very difficult to change your approach to how you see yourself when you suddenly get divorced. And you have to think again, over the next few years, how you're going to earn your income, how you're going to run your life. You have to identify as a single mother rather than as part of a family.
We played a show the other week at this festival and it was an audience that I'd never normally play in front of. That's one the greatest things about festivals: you don't always get your audience, you get people who just pop in out of curiosity. The reaction was amazing; there were people dancing, which we've never had, I guess because the message is pretty powerful and the performance is a lot more visceral than it has been previously. The audiences seem to be reacting to that really well and it's a wonderful thing, because at a performance you really bounce off your audience.
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