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Each language has its own take on the world. That's why a translation can never be absolutely exact, and therefore, when you enter another language and speak with its speakers, you become a slightly different person; you learn a different sort of world.

It was sort of that in-between area when people don't talk about their personal lives. That's the kind of life I think Kerry would be living now if it weren't for the Lopez character sort of outing her.

I'm such a bad shopper for myself. I love fashion and all that kind of stuff, but that's sort of the last thing I want to do when I'm done with a film is go shopping. I want to just chill.

I hope that there's a difference between being childish and childlike and that I'm the latter, if you take my meaning. I often sort of wonder. I don't think I'm a terribly good grown-up; I don't take responsibility easily or well in many areas of life. Finance and stuff like that, I'm absolutely appalling.

I think probably - I think, you know, when you're first dating somebody, if they're just not that physical with you, if they don't want to make concrete plans with you, you know, if they're sort of ambiguous about where everything is going, I think that's a pretty good sign that they're not into you.

I took my first creative writing class when I was 24, then went onto to get a graduate degree in poetry. I've sort of never looked back from there.

I don't think anybody's too big to fail. I think the - I think if what you've got is sort of a large number of institutions who are going to fail, then that ends up affecting the system.

Sometimes you'll see people give performances in comedy with an ironic detachment where they'll sort of be remarking on the character from outside of it. They're sort of commenting as they're playing the character. I think it's hard not to do that. I've certainly done that.

It's really sort of morbid, but she said her mother wanted to see me all her life. And when she died, she made just one request: that a picture of me be put into her casket. So somewhere in England, I'm in a casket.

I get approached to do a lot of commissioned art. Sometimes I do it, but I usually don't, given the day job and everything I've sort of got going on. I'm really passionate about it; there's not that much time left over for the other commissioned projects.

I think I sound like a fella who's always making a plea through his music. Sort of a plea of sincerity.

I think generally the heads of terrorist groups are very, very smart people. They're also great manipulators. I would presume that cult leaders are identical. These sort of individuals are very strong, they have very strong charisma.

I have no sense of myself as a sex symbol at all. But the meaning of sex symbol might be a little different in Japan to elsewhere. The Japanese version seems to come with a stronger emphasis on a sort of grownup or mature male charm. And if that's the case, then I guess I'm happy to hear it.

My dad tells me that he took us to a pantomime when I was very, very small - panto being a sort of English phenomenon. There's traditionally a part of the show where they'll invite kids up on the stage to interact with the show. I was too young to remember this, but my dad says that I was running up onstage before they even asked us.

It would be absurd for me to diagnose Sarah Palin with a sprained ankle, let alone any sort of mental illness.

I am sort of a tea addict. I structure my day by cups of tea.

I don't even think whether I play the blues or not, I just play whatever feels right at the moment. I also will use any gadget or device that I find that helps me achieve the sort of sound on the guitar that I want to get.

I was born in 1971, and Tom Baker was sort of my obsession as a kid and that's why we got him to do the voice over for 'Little Britain' because I was actually obsessed with Tom Baker.

It might kill you to say it, because the film really takes on the Catholic Church, but I do think there is a sort of affection for certain rituals, and an authenticity to the presentation of those rituals, in 'Mea Maxima Culpa.'

The British system had requirements, including Latin. I'm not positive you ever had to know Greek, but there are certainly kinds of curricula where you had to know Greek too. I think in Britain there was the most mindless, repetitive sort of learning.

I'm not limited by my gender, and I don't think anyone else should be either. Because I am the age I am and I sort of rode the crest of the first profound post-suffragette feminists, I wasn't fighting to burn my bra. Those women fought that fight just seconds before I came into womanhood.

There are two competing philosophies in 'Wool': one is that people have to live under an iron thumb in order to survive, and the other one is that everyone should live completely freely and happily and everything will sort itself out.

Ever since Woodward and Bernstein, there's sort of been an epidemic of confidential sources in Washington, in particular where people will actually - when you call them up on the phone, they'll say, 'This is off the record,' or, 'This is on background,' or they don't even wait for you to say anything.

When I think about the real pioneers of the psychedelic movement in a musical sense, not just the culture, everything had a handmade sort of vibe to it. We're inventing our culture as we move along into this.

Sometimes I feel very alone. I am a bit of a nomad. Many people in sort of emerging countries, emerging economies, find themselves displaced. So there is that sense, and so I'm part of a whole, I think, group of displaced people.

I think what's most fun is playing someone who's sort of selfish and in a lot of ways unlikeable, but there's this really big heart underneath it that you get little glimpses of.

I really enjoyed the sort of real crazy, eclectic layering stuff and how it all worked together. I could tell it was some of it was derivative of something. I could tell that certain things were being looped around and I just really enjoyed the way that it all came together.

I feel like elements of race and identity and ethnicity are sort of missing in all of literature, not just in women's literature.

I plan to see St. Louis as a global competitor. As an international trade hub, as an incubator of new companies, as a place of culture and the arts, as a magnet for immigrants, for entrepreneurs, for animal lovers, and for gays, as a city of parks and trails, and as the sort of place that figures in young people's dreams.

I don't understand people who like to work and talk about it like it was some sort of goddamn duty. Doing nothing feels like floating on warm water to me. Delightful, perfect.

I'm very accident-prone. The problem is I sort of just do things. I'm impulsive, and sometimes I don't think.

When you use the language of 'fact checking' to talk about a film, I think you're sort of fundamentally misunderstanding how art works. You don't fact check Monet's 'Water Lilies.' That's not what water lilies look like; that's what the sensation of experiencing water lilies feel like. That's the goal of the piece.

The president said that this is not removing a mole. You know, removing a mole, that's an outpatient sort of an operation. This was removing a cancer, removing a cancer takes more time.

I have always been fascinated by fashion. I never had any interest in waiting tables or bar-tending, so retail was sort of my best option.

Figure out what you're good at and start helping other people with it; give it away. Pay it forward. Karma sort of works because people are very consistent. On a long enough timescale, you will attract what you project.

I'm pretty easily overwhelmed and pretty tough as well. I think I'm tougher than I used to be. There's been a lot of hardship along the way. But that's what life is. And it's how you deal with those things, and how you let them shape you that makes you a better person and defines what sort of person you're going to be.

I really like the idea of being a bit unpredictable. I'm known for being a nice, easy-going person with a straightforward exterior. So I think a bit of me wants to be sort of sly and devious.

At one point in time or another, everyone's an outcast, and you have to deal with those sort of issues in society. Especially for teenage kids, I don't think there's anyone that's really been through childhood and not been an outcast in one way or another.

Any sort of pretension induces mediocrity in art and life alike

It is so weird to be on this side of that, because when you're starting out, and it seems like you're starting out for so long, you look up to the people who have made their mark. And you sort of want to be that.

If you look at slavery across all human history, and you sort of strip away the packaging, whether it's racialized or religious-based, and you look at the actual core of the slavery, it's one person completely controlling another one.

I was 18 when I did 'The Amanda Show,' and I was 19 when I did 'MadTV,' and I was in way over my head. I was just sort of a goof who could do impressions of WB stars - speaking of the Dawson Van Der Beek era - and it was overwhelming. I don't think I've learned more faster in my life than when I worked on 'MadTV.'

Certainly in the Capitol you do get moments were you sort of take a deep breath and think of all the historic figures who have been in that building, like Abraham Lincoln, who have stood right in those same rooms to make the landmark decisions.

I have pets, but they're the really ordinary sort - yellow Labrador, tabby cat, white rabbit, a few goldfish - that kind of stuff. Nothing very... extravagant or unusual or exotic, but I find, in terms of inspiration, Mother Nature is just it.

My mom had done some TV and commercials before I was born, and so when I was born, she knew I had a really big interest in acting because I was always acting in plays with my dolls, and they were sort of boring, because I've seen them on tape; they always involved a lot of singing and dragging them around by their hair.

The song 'Wolf Eyes,' I wrote because I felt like I was such a kitten. I want to be more of a wolf. I want to be stronger and more independent. I sort of wrote the song for that.

When people see me knitting, I tell them I'm a knitter. Not the sort of knitter they may have run into before, but a passionate, constant, deliberate knitter. I knit everyday, all the time, everywhere I go.

I always thought it was a goat that kicked me over the fence. My mama told me the other day it was a cow. Now I'm sort of scared of both.

Also, from a technical point of view, as you're standing in front of a microphone all day, it's quite a good idea that I should play a laid back sort of character because if he was too frenetic, I'd be exhausted by lunch!

I used to be very fascinated by Victorian stuff, and my best-known books, the 'Mortal Engines' series, have a sort of retro, Victorian vibe, despite being set in the far future.

I've written a screenplay that is a series of monologues and songs; they form this sort of human tapestry across time and place. The form is strange, but I find it really fascinating.

I've always loved the songs of the sea. I was first introduced to them back in 1957, at the Old Town School of Folk Music. I used to go to Pete Seeger concerts, and he would do songs like 'Ruben Ranzo' and talk about how the sailors sang songs to do their work - to raise the anchors, pull up the sails and that sort of thing.

I hate when a movie just sort of ends and is so open-ended you feel like it wasn't finished. I appreciate leaving things up to the interpretation of the audience and letting them make decisions about where things will go in the future - but the director has to make a decision; otherwise it is sort of a cop-out.

I think that one of the things that I can do is I seem to have the ability to zoom in super tight for very small details, but then jump back for sort of that big picture perspective. And I think that ultimately, that's one of my strengths, because you have - every detail matters.

The secret of it is to read what you've got in front of you. Don't, if you suspect that something has a double meaning, don't pause. Don't put on a leery vocal expression if you know what I mean on radio. Don't sort of do anything other than read it.

I ended up reading comics and just started drawing at a very young age. By high school, I was putting together longer stories. In college, I started doing strips for the newspaper and doing mini-comics. It sort of grew in scope and scale over time.

I don't like waiting around for work, and sometimes as an actor you're forced into that position, so that's sort of how I got into writing, producing and directing.

It seems so absurd to get really mad with a cartoonist over a comic strip. It's sort of like getting in a fight with a circus clown outside your house. It's not going to end well.

I think in terms of the parents that I had, I sort of drew a bad hand, or bad karma; who knows? And I did have a family that was complicated, with some quite eccentric members. So there was a lot of grist there.

Rogue economics is a sort of umbrella under which we find the criminal economy, the illegal economy, but also those gray areas, gray areas where there is not a proper regulation, where there is not legislation for the economy.

Anyone could be in the orchestra, or sports team, or arts club at my school. It was precisely the kind of inclusivity that now meets with a sort of scorn and derision as a prizes-for-all culture that generates only mediocrity. There's something so insulting about the idea that including lots of people means mediocrity.

I start looking for adjectives in news reporting, and if there are too many of them, if they're all sort of repeatedly designed to influence my thinking in a certain way, I start getting concerned. I'm leery of people trying to paint a picture in a certain way.

When I come home, I say I'm coming home to Dublin. When I'm in Dublin, I say I'm going home to New York. I'm sort of a man of two countries.

In life, you don't get anywhere or do anything you hope to without some sort of sacrifice.

One of the things that I think makes me successful is the way in which I collaborate with others. In my opinion, nothing great is ever the product of one mind. It's always a consequence of some sort of self-critical collaboration.

I didn't have a manifesto. I had some discontent. It seemed to me that midcentury mainstream American science fiction had often been triumphalist and militaristic, a sort of folk propaganda for American exceptionalism.

Sustainability can't be like some sort of a moral sacrifice or political dilemma or a philanthropical cause. It has to be a design challenge.

I'm always reaching for something we really haven't done, and War of the Worlds has a lot of this sort of documentary look to it and first-person camera view that is a new thing for me. I've done some stuff like that before, but nothing like the extent of this and digitally.

All the technology of our production was still pre-War. They were sort of '38, '39 and the War had been stable and so we were infinitely behind whatever had been going on in the United States for instance.

Elites are once again invoking Reagan, dropping their G's and saying things in a folksy sort of way that's meant to capture the hearts of people. And it's all fraud; it's all stagecraft. And people are falling for a great deal of elite behavior in this country packaged as if it's proletariat behavior.

My hair and my accent are sort of my main assets.

I do seem to have a lot of family secrets in my novels. I guess I'm one of those writers who is often writing about the same sort of themes, but taking different angles on them.

I'm sort of awkward with technology, and I think I'm the type of guy who would have something cool happen to him, and it would take, like, five days to figure out how to tweet it.

I'm lucky enough to be able to make films and so I don't need a psychiatrist. I can sort out my fears and all those things with my work. That's an enormous privilege. That's the privilege of all artists, to be able to sort out their unhappiness and their neuroses in order to create something.

There's always a spattering of people who see Hanson who were influenced by classic '60's and '70's rock and roll. In a lot of ways, we're sort of the anatomy of a '70's rock band if you examine what we do: white guys who grew up listening to soul music from the '50's and '60's.

Yeah, my drum programming especially is based on my knowledge of playing a drum kit. For the bass too, definitely. It was the first thing that I translated any sort of ideas through. It must have shaped it somehow.

It's funny. People often compare me to other humor essayists. They're usually quite nice comparisons; I will accept those gladly. But I am always sort of appalled at the idea of being lumped with other, more chick-y female writers. And the truth is probably that neither comparison is accurate.

What's important in a cellar is having wines that have a broad range of drinkability, which California Cabernet does. Wines with a broad range of drinkability give you a lot of flexibility; they are the sort of wines that make me feel secure. I think of my wine cellar as security - if the apocalypse comes, I can just go down to the cellar.

Another thing that was unique about working on this stuff was that I was engineering it. I used many of the things I had learned while I was away from the band. It sort of vindicated my decision to leave in '87.

One of the first major storylines that 'All My Children' featured was Erica Kane, a rebellious daughter, and her mother, sort of a matriarchal type, who was trying to guide her daughter to a safer place.

To see how many Italians are going out of Italy, the sort of exodus, a great generation leaving my country, I think is the worst nightmare for me as prime minister but also for the country, of course.

You are wise, witty and wonderful, but you spend too much time reading this sort of stuff.

I love finding out why people don't love things. And if you ask people why they don't like things, particularly when they get into this sort of culture box, you find out that they're not liking things because of what people are going to think about them, and not because of what the things actually sound like.

I'm the sort of person that doesn't really have specific 'inspiration.' It probably comes more from my doubts and my desires.

I'm a big horror fan, but I don't enjoy a lot of gore and watching somebody cut their leg off for five hours. I like the older movies where it draws you into the suspense, that sort of shock and awe.

I sort of tried to get a basketball scholarship out of high school, but that didn't happen. Then I started working for UPS, and that paid for tuition for school. I moved to a bigger town, Louisville. I did it for a year. I had to work the graveyard shift. And then you get off at eight for classes, so that sucked. Then I dropped out.

I love actors, and I love the casting process. It's funny, like, some writers don't like actors because, I think, they are the faces of the show, and so you feel sort of secondary, but I love actors because they elevate the material; they make it better.

I'm an early bird, partly because I like to have some quiet time and partly because by 9am emails begin arriving, the phone starts ringing and I have dragons to kill of one sort or another.

I didn't get married until I was forty because I wanted to be stable when I got married. I think I just avoided my first marriage and went right to the second. It's sort of how I see it. When you're young, just trying to make it, and trying to find your way in the world, and figure things out... being married is not easy.

And it's sort of an old-fashioned ER, in that it's very much about the medicine, and how these people cope. There's very little about the personal lives of the characters.

Our first scene is sort of a reunion between the X-Men characters, which establishes everyone's relationship to one another, sort of like a recap for all those who have forgotten since the last movie.

I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.

I don't throw money away. First class tickets are very expensive. Why should I fly first class if I can fly business, which is the same thing? I would only fly first class if the ticket included access to some sort of special compartment that could save me if there was any crash.

Success is a wonderful thing, but it tends not to be the sort of experience that we learn from. We enjoy it; perhaps we even deserve it. But we don't acquire wisdom from it.

Experimental work of great refinement is necessary in order to determine atomic weights. No relationships between them have yet been certainly found which make it possible for us to compute by any sort of calculation exactly the value of any one atomic weight from any other.

I like characters who are changed, often for the better, by the dark nature of their experiences. I also can become engaged by a character for whom I wish to see justice done, one way or the other. In general, I require a book to have some sort of moral center.

I always wanted to do some sort of action film - even a superhero movie - and when 'Lucy' came out, I was like, 'That's what I want to do.'

The reason I keep talking about a wife and saying the word 'wife' on stage is because it seems a funny word to me. The more you say it, the more it seems to detach from that person and become this sort of abstract thing: that you would set out to find a wife, that it would be an objective like buying a new car.

By laughing at me, the audience really laughs at themselves, and realizing they have done this gives them sort of a spiritual second wind for going back into the battles of life.

When I met Richard Leakey, I thought, 'This is the most charismatic man I've ever met.' He has no legs. He lost them when his plane was sabotaged. But he's an interesting, sort of narcissistic guy.