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I went to art school when I was little. I took ballet lessons. I played a little kick ball. I was sort of into everything because I had too much energy and I didn't know where to put it. When I was a preteen, I got into singing, and became really obsessed with it.

These are the sort of things that push you on in music - the curiosity, a passion for new ideas.

You're basically the sum of all the experiences you've ever had, and they're sort of shaken up in you and reproduced in the things you create, and that includes seeing movies.

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.

When I don't know what the music is going to be for a scene, I imagine some sort of orchestration going on and damned if they don't usually come up with a similar kind of thing.

Every election is a sort of advance auction sale of stolen goods.

To the person that deals in visualizations, I suppose there is something rather exciting about a whole set of people - they all going symmetrically, up or down, in a military sort of precision.

No, I always felt that amongst my core fans- because there was a level of popularity that I had in the mid '80s that was sort of a bump on the scale- they fundamentally understood the values that are at work in my work.

It's not a field, I think, for people who need to have success every day: if you can't live with a nightly sort of disaster, you should get out. I wouldn't describe myself as lacking in confidence, but I would just say that the ghosts you chase you never catch.

My sister, she's amazing. She sort of inspired me to take this journey to Latin America.

Disney had such a hold on the mind of America-they were Adolf Hitler. The whole country thought Disney was some sort of god and that animation was some sort of pure thing for children.

Free time keeps me going. It's just something that's always been a part of my life. I was originally a painter, and I made films sort of as an extension of that, and then I started to try to make dramatic films because the early films were experimental films.

I got married, other people went off. We had sort of another public-we were our entire readership for many years, and we were very excited by each other.

I write to understand my circumstances, to sort out the confusion of reality, to exorcise my demons. But most of all, I write because I love it!

The last time we had Freddy in reality was part two and Freddy sort of went out on his own.

Anyway, the sort of love that will not wait is probably best to pass by.

There is no such thing as liberty. You only change one sort of domination for another. All we can do is to choose our master.

Studios were just run differently. There really was a head of a studio. There were people who loved their studios. Who worked for their studios and were loaned out to other people and everybody sort of got a piece. Well now there's a handful now.

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.

If you've got unemployment, low pay, that was just too bad. But that was the system. That was the sort of economy and philosophy against which I was fighting in the 1930s.

Why, in such a case, should the performer essay any sort of considered approach at all?

He was the sort of person who stood on mountaintops during thunderstorms in wet copper armour shouting "All the Gods are bastards."

Because I've done a lot of television, I'm sort of a generalist. I'm not a pastry cook, but I've had to learn a certain amount about it. I'm not a baker, though I've had to learn how to do it. I'm sort of a general cook.

I started, actually, to make my first animated cartoon in 1920. Of course, they were very crude things then and I used sort of little puppet things.

I may have been lucky with some sort of intuition, but I believe in training a great deal.

Places I've lived since then had to have some kind of uniqueness and character about them. And logically Key West, and then Down Island. So, all of that stuff sort of had it's roots in New Orleans and went crazy.

People who make history know nothing about history. You can see that in the sort of history they make.

That's what I think musicals will come to. No backstage stories, nothing of that sort.

As another has well said, to handicap a student by teaching him that his black face is a curse and that his struggle to change his condition is hopeless is the worst sort of lynching.

If you're against globalisation, it doesn't achieve much by sort of bombing the head offices of Shell or Nestle. You unsettle people much more by blowing up an Oxfam shop because people can't understand the motive.