You shouldn't be a prisoner of your own ideas.
I spent more time in America, but I developed a very English sense of humour. I clicked into it deeply with Peter Sellers, who is still probably my favourite comedian.
In real life, people fumble their words. They repeat themselves and stare blankly off into space and don't listen properly to what other people are saying. I find that kind of speech fascinating but screenwriters never write dialogue like that because it doesn't look good on the page.
You know it's important to have a Jeep in Los Angeles. That front wheel drive is crucial when it starts to snow on Rodeo Drive.
The movies have a way of seeping out there over time. We don't put them in 2,000 theaters. It wouldn't work that way.
I would make a huge distinction between theater improvisation and film improvisation. There isn't much improvisation in film - there's virtually none. The people that theoretically could be good at this in a theater situation don't necessarily do this in a film in a way that will work, because it's much broader on a stage. But in a movie, it has to be real, and the characters have to look entirely real because it's being done as a faux documentary, so there are even fewer actors that can do that on film.
I spent a lot of time in London when I was growing up and I've always picked up accents without even really meaning to. It used to get me into trouble as a child.
Who you really are, is an immaterial soul and the body is an external thing that's sort of an encrustation your soul. So this has important implications for Plotinus' ethics, because his ethics are basically all about encouraging us to turn away from the body and turn towards these higher principles, so universal soul, universal intellect and ultimately the One.
My mum taught me to have a soul.
Superfluous advice is not retained by the full mind.
To be a friend of the weak-that is the artist's point of departure as well as his ultimate goal.