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If you had asked me when I was in Yale, I would tell you I never would have thought it would happen because I just didn't think of myself of having the Hollywood look.
I delivered my son. There were other people with me, but I was actively involved.
My girlfriend in eighth grade had been asking her friends when I was going to kiss her. At a dance, my buddy said, 'You better do it now!' I went in for it. I felt like the coolest person on the face of the earth. A week or two later, she broke up with me.
When people ask me what is an editorial cartoonist, I often say we're kind of a hybrid. We're a cross between Edward R. Morrow, Ted Koppel and the Son of Sam.
I heard Q-Tip on the Jungle Brothers' song 'The Promo.' It was very exciting. It was very new. The music and the culture around hip-hop was evolving. I think there's an emotional quality to their music and there's a vulnerability to the music. For me, A Tribe Called Quest was my Beatles.
The effect hip-hop had on me was enormous. I was exposed to it by happenstance. My father worked at a radio station in New York called WKTU Disco 92. It was the first radio station in New York City to play disco in the late '70s.
But it all came, and for me, hip-hop has done more for racial divide and racial sort of bringing together than anything in the last 30 years. Seeing people like Eminem sounding like somebody like Jay-Z and just the racial aspects of it all.
I love my kids, and the moments I have with them, and it's kind of weird, it's such an age old cliche, but the way that my sons, the way they make me feel when I look at them, the way they say things, no one else would probably react to them, but it's a special thing for me.
Being isolated and on-location can be helpful in terms of being completely dedicated to the work, but somebody like me can also be dangerous in terms of this intense sort of void that you kind of potentially fall into.
I thought the Secret Service would protect me from the press, but they were at my house to protect me from assassins with guns, not with assassins with pencils.
We are already so many things by the time we reach the middle of life that it is possible to see that really anything can happen, and that, by extension, anything is doable. I decided I'd write 'The Calling' as someone else. Another writer entirely, a fictional one who would be played by me.
I found that through my life, living in the city of Toronto, I look above the Pizza Pizza sign, and I look above the other signs and window dressing, and I see evidence of a city that no longer exists in the keystones and the decorations that line the tops of buildings. That presence of the old city has always moved me.
I'd fully taken the road many people start on, but most abandon: common sense had given me a miss, and I'd become an artist.
It seemed to me that I was put on earth to take care of people. That is what I should be doing, and I never got tired of it.
For me personally it is because I get an awful amount of success and I don't think I deserve it and then I want to sabotage it.
It was a wealthy family, and they heard me talk about movies, and they told me I should go into movies. That's the benefit of hanging out with rich people; they have no sense of what is or isn't possible.
Usually you talk about directors in terms of the way they choose camera lenses or a kind of light to create a certain effect. But to me the most valuable commodity for a movie to create is a feeling of life, and that's what A Hard Day's Night has in spades.
My mom would be leaving the house and she'd say, 'Don't you pull out all of the old dresses in the attic and put on a show again!' And the door would close, and that's exactly what I'd do. The show was calling me!
My female writers have always been my backbone. I had a writing room of six women for five years so I know what women do. Cultivated by me, by the way!
I guess people recognize me, but I'm not a household name. Two out of every five people who come up to me know my name. The one thing I don't want is to be followed by paparazzi.
My first ten years in Hollywood were really tough. I'd be coaching friends who came to me for acting advice, and then they'd make it before I did. I'd still be helping them while they were on movie sets and I had four lines on a TV show.
When I was a kid, I lived in a poor part of Chicago, and I remember my brother and me using towels as capes. My son does it, too.
It would be great to play Cesar Chavez. That would be an interesting role for me.
If I didn't swim my best, I'd think about it at school, at dinner, with my friends. It would drive me crazy.
I have reached a place in my life where I need to sit down and say, 'Well, what do I do? What's best for me?' I need to look into options for the future.
There is a one woman in China that claimed she paid $50 to get my e-mail address. It was pretty shocking. I got one this morning from Scotland. A girl's requesting a signed photo of me.
I have the opportunity to be part of swimming history. To take the sport to a new level would be an honor for me. There's no better time to try this than now.
Swimming is normal for me. I'm relaxed. I'm comfortable, and I know my surroundings. It's my home.
There were times I wouldn't come to practice, because it didn't excite me. It wasn't interesting. I was kind of going through the motions.
My mom put me and my sisters in the water to feel comfortable, to have water safety.
People say to me, 'You're so lucky. You get to see the world.' But I don't. I go to the hotel and to the pools and back again. That's it.
I think Van Sant is the most important American director we have. He takes the most risks. He's just pure to me.
'Boardwalk' has kind of exposed me to a different demographic. And it upped my skills in terms of the speed with which I can prep a scene, and I'm excited to apply that.
'Dawson's Creek' was my introduction to the industry. It put some money in my pocket and it put me in the position I wanted to be in, where I could audition for projects that I wanted to be a part of. I didn't find it creatively fulfilling in any way though.
My work has also motivated me to put a lot of time into seeking out good food and to spend more money on it.
I have had the good fortune to see how my articles have directly benefited some farmers and helped build markets for their products in a way that preserves land from development. That makes me a hopeless optimist.
My writing is remarkably non-confessional; you actually learn very little about me.
Plus, I love comic writing. Nothing satisfies me more than finding a funny way to phrase something.
I'm not trying to prove anything. People look at me, and they take things away from me because of a movie. They don't really see the skills and the kind of player I am. That's why I get downgraded so much, because of something off the field.
Offensive linemen don't get looked at. Nobody is paying attention to the offensive line. But me? I'm getting watched for everything. I know what type of player I am. Everybody else that I know knows what type of player I am.
I tend not to know what the plot is or the story is or even the theme. Those things come later, for me.
You're getting everyone's point of view at the same time, which, for me, is the perfect state for a novel: a cubist state, the cubist novel.
The first sentence of every novel should be: Trust me, this will take time but there is order here, very faint, very human. Meander if you want to get to town.
I've always made my decisions based on two factors: intellectual analysis and my gut. And when they meet, that's a go from me. That's when I see the goal.
I'm not one to speak about myself. I like to speak about the people around me.
You're obviously conscious of being brash or big-headed but I always knew I was going to be a footballer when I was seven or eight. I didn't just think I wanted to be one, I knew I was going to be one. Nothing ever surprised me really.
If you have any setback in your life, like not being in the England squad was for me - any setback, like losing a family member - everyone handles it in different ways. When I first wasn't included I was numb. I'd been the main England striker for years and years. It was really disappointing.
I was born to score goals, I feel. How I score them - how I get the ball into the back of the net - might have changed. The actual ability of what I was born to do will never leave me.
There are just hundreds of people that have inspired and influenced me in a number of different ways. First of all, you can't forget your parents and all they've done to help you to get here.
I know that we shall meet problems along the way, but I'd far rather see for myself what's going on in the world outside, than rely on newspapers, television, politicians and religious leaders to tell me what I should be thinking.
I think you learn a lot about a country from its art. To me, it's part of the drama of life. It teaches you that there are places, moments and incidents in other cultures that genuinely have a life of their own.
I've never had a particular skill. I can't cook, dance, play an instrument, speak a foreign language. This used to worry me. I'd think, when I'm grown up, at 18, then I made it 21, it will be clear what role I should have in life. It never happened. I never signed on the dotted line as the sort of adult my father wanted.
Pretending to be other people helped bring me out of my shell and shed my inhibitions.
It's not enough for me to cover theater, I have to throw myself around every other art form, and do so thoroughly and relentlessly.
I coined a word the other day, but I forgot what it was. It was a good one, it came to me in a dream.
I'm not performing now. What I do now is listen to music all day long. Listening is very nourishing to me. I might go back to perform, I might make another record. I've got a record half finished.
I haven't been out in the marketplace in a while. I'm thinking about going back into it. I've got some things set up over the next couple of months just to go and see. But I have no idea what the specific way to a solution is anymore. It's mysterious to me.
I brought this case because I am an atheist and this offends me, and I have the right to bring up my daughter without God being imposed into her life by her schoolteachers.
We're all in this together. I learned that lesson growing up in West Philly. When I shoveled the sidewalk my parents didn't let me stop with our house. They told me to keep shoveling all the way to the corner. I had a responsibility to my community.
I'm not saying that there weren't other inherent problems with the score that couldn't have been overcome with a bit of remixing, but why did they ask me to do it, and why did Griffin ask me to do it this way, for a film that had nothing to do with American vernacular?
Canada was for me very much Sweden, you know? Very much open people, that they read books, they go see films. I felt at home in Canada. And also, you speak French.
Men don't have to tiptoe around me - you can say anything and I won't get offended.
I had this funny family. At one end, they were breeding dogs in south-east London - for greyhound racing - and at the other, my uncle was living in Downing Street. And I would actually go to Downing Street, which didn't strike me as funny. I'd get on the number 15 bus.
I have a kind of innate sense of structure, which also makes me a good mimic.
P.G. Wodehouse was a huge influence on me when I was younger, as were Edgar Rice Burroughs and George Bernard Shaw.
But I'm not a member of the Democratic Party. If you know anything about me, anybody who's followed me, I'm the anti-Democrat. I have railed against the Democrats for a long time.
No I don't miss fighting, I still got my wits about me and there are a lot of people who do it and get beat up, and I don't want to be one of them, I have children to raise.
You have a winner and a loser and that doesn't bother me, I am man enough to accept that.
I was born first to music. But I went into acting because my father knew so much about music he intimidated me. So, I picked an art form, he knew nothing about. So I could be my own man.
When I was very little my mother would read to me in bed. She gave me a fascination for stories, and for the music in words.
Wherever my story takes me, however dark and difficult the theme, there is always some hope and redemption, not because readers like happy endings, but because I am an optimist at heart. I know the sun will rise in the morning, that there is a light at the end of every tunnel.
It gives me confidence to know that what I'm writing has a veracity of its own without me having to invent it. When I'm writing fiction, I must believe it to be true, or I can see no point in it.
You get to about 65 or 70 and you lose friends and the world does seem to be an endlessly difficult place and tragic place, so it's more and more difficult for me to find the bright lights.
With reading, I was very lucky. I had a mother who read to me, not because she had time - she was a busy woman - but she found 10 minutes to come and sit on my bed with a book.
If you look at any 15 pieces of mine, nobody does a piece like them. Totally new techniques. All the jugglers are stealing from me and claiming that they've done it.
When it comes to salt, what was really staggering to me is that the industry itself is totally hooked on salt. It is this miracle ingredient that solves all of their problems. There is the flavor burst to the salt itself, but it also serves as a preservative, so foods can stay on the shelves for months.
I was in the military for over 40 years, and one of the principles I kept with me was that there's an expectation globally that the U.S. will lead. Questions about that expectation have certainly risen in recent years. The fact that there's even a question about that is worrisome to me, and I think needs to be for a lot of people.
Basically, we've grown up very focused on the institution. The institution tells me what to do. It tells me where to go. It tells me what my career path is, and then I, sort of, attach my own personal desires, my own personal interests. I think we're living in a time where we're going to have to change - to put people in the center.
People have been afraid of me because of the parts I played. Nobody remembers that I was the dad in 'Free Willy.'
What people don't always understand is that I established a certain lifestyle for my family back in the days of 'Species' and 'Mulholland Falls' and 'The Getaway.' I wasn't about to move my six kids into a trailer park. So when people offered me work, it wasn't always the best, but I had to buy groceries, and I had to put gas in the car.
I don't walk around the street thinking, 'I'm Michael Madsen,' but then again, I am that guy, and sometimes people do take notice of me. Sometimes it's really not comfortable.
Let me remind you all that the first task of American foreign policy is to reduce threats to the United States.
I'm a big fan of 'Orphan Black,' and to be one of the original cast members is something that will always be dear to me.
I'm personally attracted to great writing - that's what turns me on the most.
I left an office at the top of the Pan Am Building, a nine-room apartment, and a farm in Vermont because I was aching inside. It took an analyst to tell me I could write a note of permission to become a musician and sign it.
I was used to being successful in school, but academics didn't make me happy.
The thing I ran up against was everybody wanted a song so fast. It took me two years to finish 'Touch Me in the Morning.'
That's what really concerns me about the modern-day terrorists that we face is this global expansion.
I suppose I hit my lowest point in the early to mid-80s, which is when things really spun out of control for me.
Being in the studio, for me, can be a miserable experience - I can really psych myself out.
When I first heard Thundercat's stuff, I thought, 'Man, this is so original.' A lot of his ballads, to me, had such a beautiful harmonic, almost classically Hispanic, feel or, like, Brazilian kind of feeling. I don't think he does that intentionally or anything. It's just I think those are his influences on some level.
My first rock band was called Mike and the Majestics. I was about twelve, and my older sister Kathy was the manager. There were three of us: me and a friend on guitars and a drummer. We were young, but we played for a lot of fraternity parties, plugging both guitars and a microphone into one little amplifier.
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