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I'm always trying to complicate things. For some reason I'll go, "Well, maybe I can get that in," and stuff like that. I always make it really hard for myself.
I was in and out of comas until I was nine and I would lose entire days and weeks. The novelty of being able to really do stuff hasn't worn off - I still feel like I'm making up for lost time.
I do have some Catholic stuff that is done from the perspective of an ignorant Catholic. But other than that, topic-wise, there's nothing really filthy.
I would say some of the food I talk about that I really enjoy, like cake and bacon, I eat a lot less than I portray in my act. But that stuff that I dislike, it's pretty sincere.
I kinda expected to turn the bottle and see a recipe. "So that's how you make ice cubes. Apparently you just freeze this stuff. Oh, but you need a tray. That's how they trick you into it."
On a daily basis there are some huge ones that are, sure, from time to time, but it is helping the reader sort through all this sort of gray stuff out there.
I think fiction is all about the exercise of the empathetic imagination. Part of what I do is let the stuff I read about meld with what I have experienced.
I've been doing this stuff for so long it's the one aspect of my life that I've paid attention to and really sort of not paid attention to the rest of it.
I worked in an art gallery for a few years, doing administrative assistance stuff, and it exposed me to what the whole world of art dealers and the art market was about.
[On plastic surgery:] My motto is: 'Anything that can be lifted should be lifted. Anything that falls should be caught. And try to catch any falling stuff before it hits the ground.
It's a tough trick to be able to create an intelligent movie that has socio-political commentary, and also has the emotional and moving stuff, at the same time.
I think it's quite painfully obvious when someone's practicing through an amp, as opposed to someone who's really laying down some stuff that just happens to be fast.
It's a lot of power to give the director to edit his own stuff. It's also a time thing: you don't want to have to wait for the guy to finish shooting before he starts editing.
We used to have our own plane with the band's name on the side. It was a dream come true. You drive to a local airport. There's none of this checking in stuff; you just get on the plane.
Also I can come up with new bits - people yell stuff out and it's a new subject or a subject that I've been thinking about that I haven't done onstage yet and I'll just run with it.
You get to the big leagues, and you think, 'Can I do this stuff?' Then you take the first pitch down the middle for Strike 1, and you think, 'I could have hit that.'
I'm not beating people over the head, and I'm saying that there are good things in store - you can make it in life. Most of the stuff that I minister [is] not real complicated deep things.
I am helping people maybe scrape off some of the old stuff that has been put upon us that has taken us from being genius's to not feeling great about ourselves by having doubts, fears and anxieties.
I'm usually way more pleased with the stuff that just kinda happens by accident and is no way a pop song. But sometimes the easiest thing for me to write is pop songs.
I'm not of the manor born; I've never felt entitled in that way. I just came to Hollywood to be an actor. All that lifestyle stuff is something to be managed.