Nashville feels like a big little town to me. It's got lots of culture and lots of interesting things to do and lots of interesting people. At the same time, it feels very small and tight-knit and very close. Everyone feels like they know each other.
India is a culture in which religious life and spirituality is very much on the surface of things. That doesn't mean it doesn't have depth, but it is very visible. There are lots of temples, lots of Islamic centers, lots of gurdwaras, and lots of teachers.
Being a dad, I certainly know what it feels like to give lots of love and understanding, and I also know what it feels like to be antagonized or to have my buttons pushed, at midnight when one of my kids just will not go to sleep. You've gotta just let them be what they are, ultimately.
I don't think I'm mainstream. I think what I am is lots and lots of different cults. And when you get lots and lots of small groups who like you a lot, they add up to a big group without ever actually becoming mainstream.
That was one of the amazing things about Doctor Who. Considering it is such an enormous charabanc, a centerpiece of international TV, it feels incredibly small when you are actually involved in it. It is very intimate, very small; it feels like a few people messing about with a camera.
I do lots - I've always felt that the idea when you're on your deathbed is, you know, to do lots of different - to say that you've done lots of different interesting things not, you know, how expensive a lining you can get for your coffin, you know.
What I love about Neill's Blomkamp work is that his stories are small human stories. But what's interesting about Neill's movies is that they're set in the future but they're so incredibly timely that it feels like maybe in the present in the next dimension. It feels like it's happening now. The universe is very recognizable, in many ways.
Austin is almost a million people, but it still feels like a relatively small town. Everybody knows each other. Or at least everyone in the filmmaking community.
As someone who flew in lots of airshows in his 20s, I know what immortal feels like.
I've always worked a bit like a cook in a big restaurant, where you've got lots and lots of things laid out and you go and look into one cauldron and you look into the other and you see what's coming to the boil.
'Fast & Furious' is Hollywood's 'Dabangg.' It is that big there, so it obviously feels amazing to have played a part in it. The role is small but very interesting. People will see me in full Hollywood accent, and the character is not like typical Indian character.
I grew up in a pretty large family. We were really close-knit, so I definitely want to have lots and lots of children.
Writing a song is like playing a series of downs in football: Lots of rules, timing is crucial, lots of boundaries, lots of protective gear, lots of stopping and starting.
That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.
That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time
Every time you have a crisis in a country you have an extreme wing coming up and proposing solutions. The way to fight them is by doing lots of work teaching people that every time these fascist systems gained power they ended up with big tragedies - lots of blood, lots of police, and lots of misery.
Look, if you have a problem with distilling the Battle of Thermopylae down to freedom versus tyranny, you need to read Herodotus because he's the one. It's his fault, not modern culture's fault. He did it.' [Victor Davis Hanson] references a lot of things like that because he feels like the spirit of the book and of the movie ["300"] are very close to the Spartan aesthetic. That's really kind of what he feels."