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I like to open for a band as it brings on sort of a challenge and it makes things more interesting. It reminds me of when we were just starting out because we would open for other bands in the beginning.

That's sort of what I like about this character is that he's not the good guy, he's not truly the bad guy.

For art to exist, for any sort of aesthetic activity to exist, a certain physiological precondition is indispensable: intoxication.

I don't have to be an imitation of a white woman that Hollywood sort of hoped I'd become. I'm me, and I'm like nobody else.

I got married and decided I wanted to do a dance record, and I didn't ever expect for it to be what it was or for the 'No Doubt' thing to be such a long break, but it was one of those things where you just had to sort of follow your inspiration.

The studio scene in California is sort of ridiculous anyway.

I've been in a serious conversation with one of my children, and a fan has come up. I've been in a public bathroom and had the hand come under the stall with a paper and pen. That sort of thing anybody can live without.

The very best thing you can do is to try to write a song that has some sort of impact.

I'm always sort of reflecting on what I do on what I've done. Usually before I make a new album, I'll listen to the previous albums just to see where I've been.

You should see my house. It's sort of explosive. Like a crazy person lives there.

Never ask what sort of computer a guy drives. If he's a Mac user, he'll tell you. If not, why embarrass him?

I'm playing to the sort of people who like the same records.

I walk around feeling a sort of existential guilt all the time; and honestly for me this house is a way of feeling less guilty about the universe.

I'm not macho, I'm not a Mel Gibson sort of person.

I wasn't at all sure I could make that sort of leap into that sort of comic book reality.

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.

I'd become sort of involved in things that were happening to people. No matter what color they be, whether they be Indians, or Negroes, the poor white person or anyone who was I thought more or less getting a bad shake.

I was really inspired while I was pregnant and I wrote a whole album for my baby. I wanted to write a kids album that didn't annoy parents. I used The Beatles 'Rocky Raccoon' as sort of a starting place for my writing.

There are two ways to go when you hit that crossroads in your life: There is the bad way, when you sort of give up, and then there is the really hard way, when you fight back. I went the hard way and came out of it okay. Now, I'm sitting here and doing great.

In fact, their eyes sort of roll around and they kind of go, 'Hmm'- like there's something there and they don't want to talk about it. But they're not that kind when they are speaking in public.

I mean, movies in general tend to sort of portray time, space and identity as these very solid things. Time moves forward. Space is what it is. You are you, and you're always you.

So the characters that I choose, I like to make sure that they have depth and that they have some sort of bite. It's more fun.

Khomeini was not a puppet like Arafat or Qaddafi or the many other dictators I met in the Islamic world. He was a sort of Pope, a sort of king - a real leader.

Hugh Everett's work has been described by many people in terms of many worlds, the idea being that every one of the various alternative histories, branching histories, is assigned some sort of reality.

Acting is sort of an extension of childhood. You get to play all of these roles and have so much fun. Playing an athlete would be so cool. Or where you get to shoot guns, ride horses. I wouldn't turn down any of that.

It's a shame about California, and particularly about L.A., where they've demolished so many landmarks. It's a bit of a disease there, where if anything is over 30 years old, they sort of knock it down and replace it. It's a strange town, it's this sprawling suburb, and then there's a city, the old town.

There's so much of, it could have been a very critical examination of what happened, and really the emotional lives of the people involved sort of carry the characters forward.

There's a lot of fantasy about what Scotland is, and the shortbread tins and that sort of thing.

It even has the same phraseology as the English orders of knighthood, companions and this sort of thing.

Since then, I have just read and read - but, that said, I suppose there is a raft of writers to whom I return again and again, not so much because I want to write like them, even if I were capable of it, but simply for a sort of stylistic shot in the arm.