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We have just decided we have to have everything for free. And I think we're starting to pay for it in terms of our mental states.
I don't think anyone at Google feels happy about it, but they've been in some sense, you know, enslaved to their business model, and so they have to satisfy their advertisers.
It baffles me that people think that obliterating the past will save them from its consequences, as if throwing away the empty cake plate would help you lose weight.
I think actors, they maybe want more approval than I'm used to giving. Everybody does. Everybody needs a hug you know, all the time. I'm not very good at that. I could get better at that.
No producer should revive a play unless they have a very good reason for it. I think there's quite enough about a good play to make it available to new audiences.
Sometimes I'll be telling my husband, 'I think I'm cracking up'. Sometimes you just need a minute to say, 'I think I'm cracking' and just acknowledge it.
When I first set out to ruin SNL, I didn't think anyone would notice, but I persevered because - like you trying to do a nine-piece jigsaw puzzle - it was a labour of love.
I really admire stand-up, and I think I would have loved to learn how to do it. I think it's terrifying and thrilling. A really cool thing to do. It's a dying art, in a way.
The people that watch or buy music or listen to TV, I don't think they separate the two as much as the people that are in charge of the production of it.
Sometimes I would bring some of my music to the school and perform on the playground, and they'd think, "There goes Patrick, trying to entertain everyone as usual."
I'm starting to think about my life, thinking about where I'm going to be in three years time: who I'm going to be with, where I'm going to be situated myself.
I really want to work with Adele, I think she's amazing. Lykke Li as well. I love them both. I'd also like to work with The Script. I met them in Australia and we just got on like a house on fire.
But I think the children of actors share a certain pragmatic approach. One is denied some of that 'running away with the circus' element of being an actor.
I think it will be, as always, interesting to compare different portrayals of Hitchcock. I'm very honored that I'm playing the same part as Anthony Hopkins.
My parents' parents were regular working-class people. I ended up speaking in a certain way, and one gets sidelined into doing certain parts. I think that is really quite narrow-minded.
I did take composition lessons when I was in high school, so I wrote piano pieces. I wrote some chamber music. I don't think any of that was particularly interesting.
One of the things I like most of all is being in my study, in my barn, with absolutely no sound anywhere thinking about something. It's extremely important to me.
I think a double bass for me would be too much effort. But the cello, you're really engaged and the sound is kind of right here. So, it feels like being merged, married to an instrument.
Only lately, like within the last few years, have I had people actually do an impression of me to me, which weirds me out to think of what they have picked up on, without ever realizing it myself
I think that's coming just like anything else. I don't think that it's just going to be 3-D. I think that 2-D is going to be around forever. I think that we'll go back and forth.