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For me it was really important to get the essence out of the music for the story and not, sort of, press the music into the service of the whimsical telling of it.

I think that people have expectations of themselves and other people that are based on these fictions that are presented to them as the way human life and relationships could be, in some sort of weird, ideal world, but they never are. So you're constantly being shown this garbage and you can't get there.

We need to go to the niceties of approaching the U. N. and let them have a chance to take it over, but we should set some sort of date and begin to move out and leave it to whoever takes over.

mean when I was a young kid, you know, I tried to do, you know, what they called reversion therapy back then and that is, you know, read the 'Playboy' magazines or read whatever it is and try to sort of correct yourself into it. And then you try to manage it badly. But you get married because you think that's what your church asks you.

Brian and I were both science students. You know science sort of math and physics side, you know.

I think looking back to my own childhood, the fact that so many of the stories I read allowed the possibility of frogs turning into princes, whether that has a sort of insidious affect on rationality, I'm not sure. Perhaps it's something for research.

I was happy she got it and I have to sort of - and one of the reasons I did Third Watch is because I wanted to break that thing of just being the pretty girl and play it down and let it be about the work.

I mean, I've had bartenders and waiters and waitresses make a comment about a joke of mine, like pointing out some sort of logic error or something that I've never even thought about, and they're right.

When you're writing about people that are not very well off, you seem to see the kitchen sink. So it was a bit of a sort of cosy phrase that got used a bit too much.

I was a big and un-ironic fan of Dear Abby when I was a kid in Chicago. I think I sort of internalized her. So I have this inner Abby: cranky, proper, folksy yet scathing, with a beehive hairdo. But that's my issue.

I think that we all know what evil is. We have a sense of what's evil, and certainly killing innocent people is evil. We're less sure about what is good. There's sort of good, good enough, could be better - but absolute good is a little harder to define.

You know, there are many alter egos and Gorillaz is a collective of alter egos, really. I think anyone who gets involved in it has to sort of accept that nothing is really as it seems.

I've always liked pop music. There was a bit of a misunderstanding with the avant-garde rock scene, because I think I was sort of swimming the wrong way, really.

Our repertoire consisted of rhythm and blues, sort of country rhythm and blues, Sonny Terry things.

Home life's great, man. The kids are great, happy and healthy. I've reached this sort of wonderful precipice.

I like me Italian girls; half Halle Berry, half Penelope Cruz sort of thing!

I don't watch much telly, the telly hardly goes on, but the things I do watch are sort of nature programs, and something about the oceans and the amount of weird fish that's in there.

I don't know, Y'know, I always wanted to be one of those cheerleader girls and I never was that, and I was never sort of cute and perky, and I always thought it was fun to be cute and perky, and those, I don't know what those girls are doing now.

We'll sort of get over the marriage first and then maybe look at the kids. But obviously we want a family so we'll have to start thinking about that.

Being in this business for as long as I've been in it, it's sort of like living in a town or a city before the war and then after the war and then during the reconstruction and then during the time that it sprawls out to the malls.

It's sort of my job to feel good.

If you're going to use standards as criteria for signing musicians, you can sign thousands. If you're going to use some sort of conceptual interpretation that's based on the tradition of those standards, but is trying to move away from it, you're down to about 10 people or so.

I still, at hotel rooms, I do this one sort of not-so-cool thing: continually shoving my room service tray in front of someone else's door. Because I don't want the remnants. I don't want to be caught, like, being like the pig that I was at two in the morning.

The social arrangements that produce responsibility are arrangements that create coercion, of some sort.

When you think of the sort of things that happen when a genocide happens, it's again not people who are intrinsically evil.

But as you say, the fundamental stumbling block is the question of the future of the economy. And it's not just the sort of economic laboratory question, of what kind of system would best generate growth, which is the way it's presented.

Most writers like to maintain some sort of anonymity. For me, making videos was an assault.

Peter Sellers was great to work with. A lovely man. A little bit crazy in that he - you know, as I say, it was hard. It was sort of balancing a very delicate spirit on a needle. You know, because you never know where he was going.

Sort of like, I have to make the Japanese lyrics really deep.

I'm having fun opening up. Sort of struggling to get the audience into it. It's good. It makes you fight. Not fight like antagonistic. But fight for what you believe.