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People say I'm deceptively unassuming, but that's the way I go through life. I'm not flash. You can make it sound calculated, but it's pretty much just me.
Sometimes people think I'm sort of a Machiavelli who is thinking, 'How can I disarm people? I know: I'll create a persona; I'll get some spectacles, and when I meet you, I'll say, 'How are you doing?' And I will be very unassuming and polite and never get angry.'
I am genuinely slightly vague and chaotic in my habits. For good or ill, you know.
In my normal way of doing things, there's a little bit of 'going native' that takes place, where you're in a world long enough, you can't really help but start to see things in a nuanced, more humanistic way. Just because you're with people and you start to, in general, slightly like the people you're with.
When you don't have access to a subject, and all you have is ex-members and critics, there is this gravitational pull toward telling a certain version of events. Scientology would say this, and they have a point, that it's like doing a portrait of a marriage in which you're only hearing from the ex-wife and not the ex-husband.
Prisons and jails, I tend to feel that you're actually safer as a journalist than you might think, certainly more than it appears.
I don't feel that as human beings we have an obligation to dislike someone based on their beliefs, and it's OK to have a human reaction to someone even if you feel what they do is hideous and objectionable. You can still enjoy their company and find them interesting to be around.
But you know we couldn't compare what we do with what the British athletes did at the Olympics. We are very proud to be British and if we have done our bit to promote Britain in a historic year for the country that's brilliant.
You can lay in bed and think you don't stand a chance, that's what all of us thought, and here we are. We ended up doing all right.
If life was so easy that you could just go buy success, there would be a lot more successful companies in the world.
You can never be comfortable with your success, you've got to be paranoid you're going to lose it.
Successful enterprises are built from the ground up. You can't assemble them with a bunch of acquisitions.
The value that some analysts put on revenue vs. what they put on profit is out of whack. If you can grow real cash earnings, that's 80% of what you ought to do, and the revenue component is 20%.
It's about communication. It's about honesty. It's about treating people in the organization as deserving to know the facts. You don't try to give them half the story. You don't try to hide the story. You treat them as - as true equals, and you communicate and you communicate and communicate.
I think I could have worked as a technical director. But in this role, you can't attend training or say anything for fear it won't suit the coach, directors, or media. I don't think I want a job like that.
It's a principle of my philosophy that you have to respect the individual human being.
You need always guts to put youngsters in the squad and also in the line-up.
You cannot buy players and know, for sure, that they can deliver. You cannot know because football is a team sport.
In the football world, you have to deliver. However, as an ex-player, you always have more credit.
When you have a lot of ball possession, you have a lot of ball possession to create chances, not to play the ball around and not score.
Yes, I have a philosophy, and you have to come with good arguments to change that philosophy, but, if someone has a better argument than me, then I will change.
You are always evaluating. That philosophy is very important for me. Because of that, I am - or maybe I should say was - a very successful manager.
There is no winter break, and I think that is the most evil thing of this culture. It is not good for English football. It is not good for the clubs or the national team, and I think you should change it.
Players can play bad, and certainly when you have only three days or six days training sessions in your legs, and you have to play 45 minutes. Everybody can say that it's easy to step in, but it is not easy.
When you win the FA Cup, you have a title and a very respectable title in England - more than other countries.
If you ask me how did I do at United, I will say it was my best year ever, given the circumstances I was working under. We played football that was quite alright. But it's not football that is appreciated in England.
You have expectations always when you buy players. Mostly, you have positive expectations.
I have to treat all of the players at the same level with the same rules and same demands. It's difficult to understand, because the outside world is thinking when you pay a lot for the player, then you have to put him in the squad.
It's difficult to beat German teams. They don't play as attractively as, for example, you have it in the English league or in the Spanish league. But to break a German team is not very easy.
You get x amount of years at the top… boybands are like buses - there's always another one coming along.
Money doesn't make you happy - I know people in the U.K. with money, they never seem to be happy.
I think Dublin is the best place in the world, all you need is money. I feel safe here, no one is going to shoot me, like in the States.
You can always spot the professionals. Taylor Swift, she knows what she's doing.
Everybody says they were 'born to sing' but you can suss the good from the bad. You can tell who's in it for the music.
All you need in a successful boyband is two great singers and three okay singers and you get can away with it.
I don't know if I'll quit Ireland. I like living here because I like the people here, but you never know what's going to happen.
It's very hard to meet somebody that you're comfortable with who really knows you.
If you're Ronan Keating, who was working in a shoe shop when I discovered him, but end of thinking you're George Michael, then you need to be stopped.
Every actor has an obsession with their hair. You can see it on set, and you start to realize it's completely silly. I can be very obsessed by my hair, but all these hours spent trying to style it are useless, because ultimately, you can't change your haircut. It's all the same.
To make a movie is very stressful, especially when you work with your father. You want to think the movie is good. Even when I don't work with my father, I want it to be good.
I'm interested in existential films: I love movies that console you in the same way that a person consoles a weeping child.
The Lord may not come when you want Him, but he's always going to be there on time.
The worst resentment that anybody can have is one you feel justified to keep.
You have a bout with death, things that touch your mortality, when that happens, all that bling-bling gets thrown away because all you've got is you and God.
My father's best friend, Georgie Terra, was an Italian guy. The children and the cousins and nieces and nephews were children of the Mafia. Those were the children he grew up with. If you want to go to a safe neighborhood, go to where the Mafia is.
When we look at each other, we're the same family. You don't have to see black or Latino - we're one family. That's America.
The two lines from 'Roots' that stick out to me are, 'You no more in Africa. You in America now,' and what I said after Kunta escaped: 'What is it like to be free, Kunta? It must be something.'
There's really nothing like a live audience right there. When you're in a bad show, you can hear the creaks in the chairs.
You never know when what you do in the arts means something to people, and you never really know if you've been received well.
We are born with freedom and hope, but often that's dashed because of our color. But in school, I'd already been taught that no one could tell me that you can't do something because you're black.
You say to a brick, 'What do you want, brick?' And brick says to you, 'I like an arch.' And you say to brick, 'Look, I want one, too, but arches are expensive and I can use a concrete lintel.' And then you say: 'What do you think of that, brick?' Brick says: 'I like an arch.'
The first thing that an architect must do is to sense that every building you build is a world of its own, and that this world of its own serves an institution.
How precious a book is in light of the offering, in the light of the one who has the privilege of this offering. The library tells you of this offering.
There seems to be a terrible misunderstanding on the part of a great many people to the effect that when you cease to believe you may cease to behave.
I've started movies without screenplays both on 'Clash' and on 'Hulk,' and that is tremendously stressful because you have a tendency to overcompensate with effects. You haven't tested it in your head. You didn't run it over and over again and covered all of the plot holes and figure it out. It's a marathon that you sprint.
When you do a first movie, you're contractually supposed to do the second one and then you don't do it, you become an executive producer. That's why there are a ton of directors who have executive producer credits on other movies.
I feel like the great filmmakers who have a true voice, yeah they take the notes, they understand the notes, but it's really about the notes underneath the notes. When you do a test screening and somebody says, 'Well, I didn't like the love story,' but it was probably just too long.
I think our movie, 'Now You See Me,' is an emotional movie rooted in smart and wits and fully amazing actors working perfectly together. It's like a supergroup of musicians.
I'll tell you what, I had complete control on 'Unleashed.' I directed, produced, chose the musician, picked the costumes, and everything. I never had anyone saying, 'I don't like this and I don't like that.' The studio, Universal, were easy. It was this weird movie no one cared about.
My favorite moment is when someone says, 'I like 'Unleashed.' 'Now You See Me' is so much fun.' That's what I want to do: smart, fun and big movies. I cannot lie, I love working with those big paint brushes. I have a blast doing these movies.
My fear in converting it to 3-D is that people will say, 'Oh, it's the 3-D 'Clash of the Titans.' No, it's 'Clash of the Titans,' the movie, and then, on top of that, you have the 3-D conversion. The 2-D movie works as well as the 3-D movie. I want to make sure that people like the 2-D version.
What's great about 'The Avengers' is that it's the next step. It's not just superhero fights super-villain and superhero wins. It's about superheroes that come together and interact. It's a clash of the egos. You could do 'Avengers 1' without a villain, just with all these guys coming together. They could sit down and just have a discussion.
I'm one of the lucky directors that pretty much every movie I've done has started a franchise. But I never think this way. I think that's the way you break it, if you go, 'then at the end, at the end we'll see you later.' I was forced to do it in 'Clash of the Titans.'
I'm stuck somewhere a small island in the middle of the Atlantic where I'm alone. Because in France, they're like, 'No, you're not like us, you're not a French guy.' And in America, they're like, 'You're not like us.' I'm really alone in my little thing.
Great actors are so easy to direct. It's like they're big 747s that you just have to move left and right, and I don't really need to direct. I need to put them in the right costume, with the right haircut, in the right location, and with the right actor to act with. And then my job is almost done, with a great script, obviously.
I like the idea of a TV show. You take time to get to know your characters. You can introduce a lot of characters. You don't need your three-action set pieces that you usually need for movies.
Frankly, with HBO and Showtime and cable shows, the DVD box sets and all, you can have a product that doesn't make you feel like as soon as it's projected, it's thrown away. It's really a piece of art.
When I went to bed as a child, I was told, 'You don't know where you'll wake up.' When I ran in the garden, I was told that running was bad for the heart. Everything had its sinister aspect - milk shrinks the stomach, lemon thins the blood.
The teapot takes in water and gives out tea. So the human individual takes in anything you give him and promptly transforms it; he is ready to give you out again his own reactions - first, in thought and emotion, then in voice or action.
When you are working on a script, the story itself is not difficult. You say this would happen and then this, resulting perhaps in this. And the dialogue you make as true as you can.
You must find the note, the correct key, for your story. If you find it, everything will work. If you do not, everything will stick out like elbows.
If you go back to 2001, the market had two violent short covering rallies then, although I know the market didn't officially get going until March 2003.
Now quantitatively we rank things on something called alpha over standard deviation, which is the return independent of the market divided by volatility. Usually, to get a high ranking, you need some buying pressure.
If you are a short-term trader, you have the right to come and go from our funds.
Yes, there's such a thing as luck in trial law but it only comes at 3 o'clock in the morning. You'll still find me in the library looking for luck at 3 o'clock in the morning.
We take the sense of touch for granted. Think about it: Without it, you're missing one of the basic senses that enables you to interact with the world.
A poll will give you the most popular answer but not the answer that optimizes the preference of a group.
If you sit at your desk and reach and grab a cup of coffee, you don't look directly at the cup, focus on it, and get your fingers lined up before grabbing the coffee. In real life, you reach for a cup that you see out of the corner of your eye, and when you feel it, you know you can grab it.
The ability to manage large assets well - it's like being Michael Jordan or winning the gold in the Olympics; it's what you aspire to.
As you know, I am a novelist, and I really want to write novels. But I knew enough about the Dreyfus case to understand immediately why what happened to Dreyfus was not merely a cause celebre from the end of the 19th century, but an event that could be shown to teach us lessons of the greatest importance for our own time.
If you're a woman and a guy's ever said anything romantic to you, he just left off the second part that would have made you sick if you could have heard it.
Life isn't something you possess. It's something you take part in, and you witness.
Well, when I was younger, I lied all the time, because once you understand the power of lying, it's really like magic because you transform reality for people.
I wish I could know everything ever, like that would be my wish - that's what I hope heaven is, that they tell you who shot JFK and all that stuff.
The only pitch I have to movie people is the same as this one: Just give me $8 million. I'm not telling you what it's about and I'm not telling you who's in it.
You can't cancel my stand-up tours. It's impossible. There's too many separate bosses. There is no 'bosses.'
I don't know what it's like to be an actor, where if your show gets canceled, really you're just a bum.
There's a woman I see who's not my therapist, but she's like an old friend who's a therapist in profession. She lets me talk to her like a therapist once in a while, and she does a great thing. Whenever I have a big dilemma, like this is a big problem in my life, she always says, 'Wow, you're going to have to figure that out.'
I like pressure. Pressure doesn't make me crack. It's enabling. I eat pressure, and there might be times when I get a bad feeling in my gut that this might be too much, but you feel pressure when you're not doing something, you know?
Whenever I've encountered a Christian saying, 'Why don't you stop talking like that so I can hear you?' I think, 'Well you're the one putting the earmuffs on, but I wish you could hear me because I like you.'
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