At the end of whatever we're doing, I always feel like I want to go back and start over again because now I have a better sense of what it is. I feel that with everything. Like, if you're doing like a long run of a play and you're doing it seven shows a week, at the end of it, I want to go back and start from the beginning.
Joy is the wild card of life; it supersedes every other formula for success. If you can find a way to create joy, you can rise beyond all external factors. If you can play at whatever you are doing, you are the master of your life.
Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.
I don't understand how a musician can play 90 minutes on stage and then not dedicate a little bit of time to hang out at their merch table. It's not like digging a ditch or something; you're standing there thanking people for coming out to see you.
For suppose that every tool we had could perform its task, either at our bidding or itself perceiving the need, and if-like the statues made by Dædalus or the tripods of Hephæstus, of which the poet says that "self-moved they enter the assembly of the gods" - shuttles in a loom could fly to and fro and a plectrum play a lyre all self-moved, then master-craftsmen would have no need of servants nor masters of slaves.
I think it's been, you know, kind of like a tragic play to this point. But at this point, I think it's clear, and will be clear to the majority of the Congress. I think it's clear to the American people that there is only one countervailing force to a world where financial institutions are trying to sell instruments every day and where credit has dried up, and that's the United States Treasury.
The play is the source, it is orchestrated with words. In a movie, you are not dealing with as much as that. There are machines and wires. When you're acting for a camera, it keeps taking and never giving back.
In foreign affairs we must make up our minds that whether we wish it or not, we are a great people and must play a great part in the world. It is not open to us to choose whether we will play that great part or not.