I'm very wary of doing political stuff for a lot of reasons. One of the big ones is that the shelf-life for them is not very long, and the joke becomes old news very quickly.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
In the world of computers and just devices in general, the lifespan, or the shelf life, is relatively short just because technology moves so fast and the costs drop so quickly and the power, whether it's computing power or memory rises very, very quickly.
I did not grow up watching much TV and film. I had a very, very, very, very, very, very church family, and a lot of, like, secular stuff was not around my house.
There have been some bad times, some very low points in my life. Doing 'Celebrity Big Brother' was certainly one of them. When I came out my phone didn't ring for a very long time.
I write in a very strange way. Things are very fragmentary for a very long time, and then they come together very quickly near the end of the process.
Life isn't moving quickly - time moves very quickly. But I don't really have a schedule now that's very challenging. I make the calls and I call the shots, so I feel reasonably centered. Sometimes, I wonder whether or not it's even necessary to do concerts and stuff.
I've seen a lot of people burn very brightly and very quickly, and I think you can become overindulgent sooo quickly in this business, and so I try not to fall into any of the trappings that would affect me very negatively.
It's very much the currency of discourse on social media where political disagreements very quickly become very personalised.
The one thing I do believe is, if you make the songs about the human aspects of things, you've got a much better chance of having the music transcend the times. If you make them very political and very topical, it's going to date very quickly.
I'm very wary with impressions - I don't think I'm very good at impressions, I hate doing them.
Yeah, all drama teachers are very effusive, very demonstrative, very emotionally open, very big, and gesticulate a lot, and are very physical.
I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.
I'm very lucky to be at this level and it is very hard to catch up. It is all about holding on and it is very important to learn from the other drivers. I tend to put a lot of pressure on myself, wanting to be very good very quickly, which forces me to up my game.
The fine line between roaring with laughter and crying because it's a disaster is a very, very fine line. You see a chap slip on a banana skin in the street and you roar with laughter when he falls slap on his backside. If in doing so you suddenly see he's broken a leg, you very quickly stop laughing and it's not a joke anymore.
I'm very wary about giving advice. I think it's very dangerous to give advice to people, except if you know them very well.
Even though the money is great and the fame is great, you still have a lot of disenfranchised young men that are participating in the NFL that are not very happy. A lot of them are very bitter. A lot them are very angry. So many of them have had no fathers and no home life, and basically, no education.