A Quote by Vivienne Westwood
I have a company, and I've got to think about that. I'm trying to do my best there, and that's a much harder task. We recycle as much as possible, and we conserve. But I've always been one to save everything - I even walk up stairs on the very inside or the very outside to not wear out the tread.
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For me, the best characters are the ones that feel fully formed inside and out, so I try to have a very clear vision of exactly what they would wear, top to bottom, who they are, what their backstory is, what their family situation is, who are their friends, just creating as much of a three-dimensional character [as possible]. Because I think you could do a very broad character, but as long as there's some emotional truth to them you can get away with really crazy things.
To some degree. I think that I've always been very much of a chordal person. The chords are the foundation of everything. Some of Yes' stuff is very linear, albeit complex, but it's single-line melodic stuff. So I kind of had to wear a different cap working with Yes. It's not so much chord-based.
We run around so much - with the best intentions: I want to save the rain forest. I've gotta clean up the oceans. I've gotta save the dolphins. All worthy efforts, but if you're not centered and you don't have the serenity in your life you need to accomplish that task, you're not going to do a very good job.
It's like my having to walk down thousands and thousands of white marble stairs...and nothing but a very very blue sky, very blue...and I'd have to walk down them forever. I never thought about going up...Don't you think that must mean something?
To put it in gentleman's terms if you've been out for a night and you're looking for a young lady and you pull one, some weeks they're good looking and some weeks they're not the best. Our performance today would have been not the best looking bird but at least we got her in the taxi. She may not have been the best looking lady we ended up taking home but it was still very pleasant and very nice, so thanks very much and let's have coffee.
When you're writing a book, it's rather like going on a very long walk, across valleys and mountains and things [...] The highest mountain on the walk is obviously the end of the book, because it's got to be the best view of all, when everything comes together and you can look back and see that everything you've done all ties up. But it's a very, very long, slow process.
Realistically, looks offer an advantage to an actor. I'm going to work hard to maintain my skin. I'm going to prevent aging as much as possible. And I will keep trying to become a better person on the inside as much as I spruce up the outside.
Over the last 10 years, there have been so many incredible albums created in bedrooms by people who never would've gotten an album deal. People keep thinking of professional music studios like they've always been this way for hundreds of years, but they're very much a child of the 70s. Even the interior is very 70s. Everything's brown and it's wood - somebody told me the wood panels are all by the same company. We're always mourning things that have died. It's a bit much sometimes. These studios have no fresh air, and there's this unwritten rule that they don't have windows, either.
I think I've always been pretty shameless about seeking out people much smarter and much more experienced than me from the very beginning.
But with my last film, Spider it was agony. The money was always disappearing, nobody got paid, it was very difficult - and it's very distracting from the process of making the movie, of course. So I think things have been getting harder and harder.
I have always been intrigued by the journals that girls keep. They are like dollhouses. Once you look inside them, the rest of the world seems very far away, even unbelievable. If only we had the power to keep outside ourselves at such moments, we would spare ourselves so much pain and fear. I'm not talking about truth or falsehood but about surviving.
You're wonderful. So full of life and excitement. The priests and servants of the palace, they wear colors, but there's no color inside of them. They just go about their duties, eyes down, solemn. You've got color on the inside, so much of it that it bursts out and colors everything around you.
Once a musician has enough ability to get into a top music school, the thing that distinguishes one performer from another is how hard he or she works. That's it. And what's more, the people at the very top don't work just harder or even much harder than everyone else. They work much, much harder.
I've always been very happy with my role in Radiohead. You're very much a part of everything, but you're much more of a shadowy figure.
At least I like to keep it the same. That's why I've got all the same friends. That's why I go back to Leeds as much as possible. I don't know if you know much about England, but Yorkshire is a very sobering place. In the North. It's very gritty. Old mining villages. And people don't really care about celebrities up there. And it's great. And that's why I get back there whenever I can. 'Cause it keeps me very grounded, and it keeps my life very normal, whatever that is.
I use stairs and walk as much as possible.
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