I remember once when I was working on a magazine, and one of the male editors was going on a field trip with one of his sons. The office was full of, 'He's such a good dad,' whereas I came in late from a doctor's appointment for one of my children and was asked, 'Where were you? You'll need to make up the time.'

As we were developing 'Umbral', and I was delving into the mythology and legends, I had a sudden realisation. 'Wasteland' is about people who fervently believe new myths and legends, but they turn out to be false; whereas 'Umbral' is about people who reject ancient myths and legends, but they turn out to be true!

My personal style changes wherever I am. When I'm in Ibiza, I'm a bit girlier because there's an opportunity to be more romantic and dress up for the beach scene. Whereas in New York, I tend to go for suiting and tailoring that almost feels like weaponry for the city - but I think I'm quite playful no matter what.

I, as prime minister, never went to Washington. Certainly never went to a presidential ranch. I hate to say this, but I wasn't going to be the pilot fish to the shark, whereas Australia quite happily bobbed along like a happy little pilot fish with a shark who was a messy eater, and I just couldn't feel like that.

A stand-up act is almost like a pool. You know what I mean? It's like a pool, and you're always skimming little leaves out of it, messing with the chlorine level, putting up umbrellas. You're trying to make one little stagnant body of water perfect. Whereas a late-night show is like a river, always moving forward.

As far as writing, I like watching bad movies. Nothing stops me in my tracks more than watching a great film like 'The Godfather' or 'Dog Day Afternoon' or 'The Graduate.' You watch one of those, and you never want to write again. Whereas with bad movies, it makes you think, If that counts, I certainly could write.

Certain product categories become less attractive for us because, as they become mature, they become low-cost, and hence, there is less to invent. There is less to invent in a television, whereas in heath technology, there is a lot to invent. So we wanted to put our innovative power to work where it really matters.

The very large brain that humans have, plus the things that go along with it - language, art, science - seemed to have evolved only once. The eye, by contrast, independently evolved 40 times. So, if you were to 'replay' evolution, the eye would almost certainly appear again, whereas the big brain probably wouldn't.

I always thought I'd eventually learn how to draw really well, and despite constant evidence to the contrary, I just kept on trying. If you're too good at anything, you don't have to think about the process, whereas I feel like I spend my life with my head under the bonnet, trying to understand how everything works.

The world has changed - through technology, through wine-making techniques, the quality of wine is greater than it's ever been. Whereas ten, fifteen years ago it was very easy to find lots of bad wine, it's kind of hard now. The technology, the science - it's like, are you kidding? We're in the golden years of wine!

I don't regret giving up football for acting. I love football and am very proud I played for Morton. But the truth is, I wasn't going to get much higher in football. At the same time, I sensed I could go somewhere in acting. I'm 28, which is young for acting, whereas in football I'd now be near the end of my career.

There is the myth that writing books for children is easier than writing books for grownups, whereas we know that truly great books for children are works of genius, whether it's 'Alice in Wonderland' or the 'Gruffalo' or 'Northern Lights.' When it's a great book, it's a great book, whether it's for children or not.

I've played a lot of villains. The villains are always fun because you can just go fractionally bigger than life. It's always a grey area because you don't want to end up mustache-twirling and making them a little false, but you always get to play a little more, whereas the lead guy has to be a little more straight.

As women, we feel we can't ask for things. There's been a lot of research done recently and, more often than not, if a woman goes in to ask for a raise, she'll get it. But she's thinking, 'Do I deserve it? I've got to give a list of why I deserve it.' Whereas a man will just go in and ask for a raise. It's so scary.

I think that it's more important for an economist to be wise and sophisticated in scientific method than it is for a physicist because with controlled laboratory experiments possible, they practically guide you; you couldn't go astray. Whereas in economics, by dogma and misunderstanding, you can go very sadly astray.

Playing football and presenting TV are totally different things, but there are similarities: it's exciting, it can go well, it can go badly... the difference is when presenting goes badly, it doesn't really affect anyone's life, whereas when you have a bad day on the pitch, it affects people's moods for a whole week.

Everybody knows how to get prepared for an MMA fight. Everybody knows what the other person is going to do. Whereas when I did it, MMA was really style against style. Things you hadn't seen before, you'd see for the first time. People didn't know how to train properly for it, and the coaching wasn't there yet, either.

When you audition for shows in Hollywood, you go in, you do your scene, maybe you get an adjustment. It's sort of easy, and a lot of times it just feels sort of rote and simple. Whereas when you go to New York and you audition for plays, you walk out sweaty and intimidated and nervous and doubting yourself as an actor.

Working with Chaplin was very amusing and strange. His films are so funny, but working with him, I found him to be a very serious man. Whereas the films of Hitchcock are macabre, he could be a very funny man to work with, always telling jokes and holding court. Of course, when I worked with Charlie he was getting older.

It's very exciting to take magic into a new direction, whereas a lot of times magic comes from a place of sort of ego, like, 'Look what I can do that you can't do.' It kind of comes across that way a lot, and you're always trying to challenge the magician; you're always trying to figure out how the magician is doing it.

The massive thing that has changed for me was the game management aspect. I still get it wrong sometimes, we all do, when to attack and when to kick, how to control the game, speeding it up and slowing it down. Whereas I used to just go flat out, as hard as I can, get the ball out and get to the ruck as quick as possible.

Motion capture is exactly what it says: it's physical moves, whereas performance capture is the entire performance - including your facial performance. If you're doing, say, martial arts for a video game, that is motion capture. This is basically another way of recording an actor's performance: audio, facial and physical.

You have to go as hard as you possibly can, or it's going to be weak. Whenever I find myself not committing fully to a character, it's not as funny. It doesn't have that clear point of view, and you find yourself wandering all over the place, whereas committed characters make strong choices that are clear to the audience.

I grew up partially in L.A. and partially in New York. In L.A., anything goes because it's really temperate. There aren't any fashion rules dictated by weather, whereas in New York, of course, there are. New York is seasonal, and also it's a fashion mecca, so people are a little more aware of how they put things together.

I find a difference in British spy fiction and American spy fiction. In the American version, it's more militaristic, partly because the CIA has more of the military makeup. Whereas MI6 is more of a cerebral, intelligence-based, relationship-based service, i.e., all they do is recruit people to get information out of them.

Whereas a lot of Buddhism concerns itself with stages of enlightenment, various precepts and moral codes, and even power structures and hierarchies, Zen is just like, 'Shut up, sit down, and observe your thoughts - oh, and by the way, what you perceive as you' doesn't actually exist.' I loved the minimalist approach of it.

Auditioning and actually acting on a set are two different things. When you audition, you're in a room and you don't have anything to play with and you don't have anything physically in the room. Whereas on set, you have direction, you have costumes, and you have other actors to work with. It's a completely different thing.

Filming costs so much money, so it's such a nerve-racking process, whereas being in a studio is quite cheap compared to that, so you have more time to work on things until you feel good about them. That makes it easier to explain a certain feeling and be in a vulnerable place while making sure it does what you want it to do.

Drama can feel like therapy whereas comedy feels like there's been a pressure and a weight lifted off of you. You come to work and you laugh all day, you go home and you feel light and there's a certain feeling when you're sitting with the audience and they leave after 90 minutes and it's just pure escapism and they're happy.

All this talk of equality remains merely on paper. In real life, women are still bound by several psychological shackles and emotional boundaries imposed on them by their families and others. If a girl comes home late, she is asked 100 questions, whereas boys are not answerable for anything. And this prevails across segments.

In professional wrestling, I think that they want you to be bigger than life. It's almost like an over-acting type thing - whereas on the big screen, you're 35 feet and they've got a close-up of you to put it on the screen in the movie house. At 35 feet, it's more subtlety than the overboard drama that we do in pro wrestling.

In comics the reader is in complete control of the experience. They can read it at their own pace, and if there's a piece of dialogue that seems to echo something a few pages back, they can flip back and check it out, whereas the audience for a film is being dragged through the experience at the speed of 24 frames per second.

An author entices the readers with their words, and it is painful for them to even lose a sentence. But films and books are two different mediums and should be dealt differently. What works in a book might not work for a film. When I saw 'Anna Karenina' on screen, I didn't like it at all, whereas 'The Godfather' was legendary.

I never really liked weightlifting because there is no problem solving, whereas when I am fighting, I am trying to solve a problem, so I don't think about being tired. I box, wrestle, do jujitsu, run up sand dunes; every single day is something different so that I am mentally engaged. That's what makes me want to train longer.

When Def Jam wanted to sign Method Man, they wanted to sign Method Man and Old Dirty. And Old Dirty wanted to be on Def Jam - everybody, that was like the dream label. But if I had Old Dirty and Method Man on Def Jam, that's two key pieces going in the same direction, whereas there's other labels that needed to be infiltrated.

Writing on a computer feels like a recipe for writer's block. I can type so fast that I run out of thoughts, and then I sit there and look at the words on the screen, and move them around, and never get anywhere. Whereas in a notebook I just keep plodding along, slowly, accumulating sentences, sometimes even surprising myself.

With a play, there's more of a definable arc because of the nature of theater: You know, there's no editing, so there's something more natural about the arc a character follows in a play. I think theater is more an actor's medium, whereas film is more a director's medium, because that's who controls the final feel of the film.

I was a guitar player in a band that had two keyboard players, sometimes two other guitarists, a bass player, and a drummer, four or five singers, and percussion. We did a two-and-a-half hour show where the music spanned from the early Sixties to the present. Whereas the David Lee Roth thing was like, Now. Very big and intense.

For myself, I think that those who cultivate wisdom and believe themselves able to instruct their fellow-citizens as to their interests are least likely to become partisans of violence. They are too well aware that to violence attach enmities and dangers, whereas results as good may be obtained by persuasion safely and amicably.

When I've written episodes of 'Doctor Who', when it comes to the monster chasing somebody, it's the Doctor and the companion, running down the corridor, being chased by a guy with a stick and a tennis ball on the end. Whereas, when I see the rushes of 'Being Human', we're actually looking at the werewolf, and it just looks real.

We're a social species, and we want to get along with the people we like and who are like us. That's just good adaptive behaviour. We're more likely to accept something if we hear it from a friend, whereas we're sceptical of people who are not like us - which is what leads to racism, nationalism, sexism and all forms of bigotry.

Belief comes spontaneously as well as by effort. Belief is power. An insincere and uninspired seeker is aware of the truth that belief is power, but he cannot go beyond understanding or awareness; whereas a sincere, genuine, devoted and surrendered seeker knows that belief is dynamic power, and he has this power as his very own.

Obviously, there are those in the industry who don't give romance novels the level of respect the sales would warrant. They'll talk about a book that sells maybe 100,000 copies, that happens to be very literary, whereas something like 'Crossfire' will sell 13 million copies in a single language and hardly get any mentions at all.

A novel is 400 pages; it's an endurance race. There's no artist, so I have to describe everything. It's all prose. Whereas with comics, I can rely on the artist. It's really wonderful to have that collaboration and to not always feel the burden of describing everything myself and also just to have someone who can paint the world.

I'm just used to having so much control in music and in acting you have to give that up a bit. Sure, our voices are heard on set, but at the end of the day you can lose an argument. Whereas in music, if I feel the second verse needs to be changed I can change it. I find it really hard as an artist to give up some of that control.

An idea can be tested, whereas if you have no idea, nothing can be tested and you don't understand anything. The molecule that you make when you are getting sunburned or when you eat a lot of food is part of the same molecule that contains an endorphin or an opiate. No one has ever had a hypothesis about why the two are together.

You know, in Los Angeles, you're constantly in your car, you're sealed up, you're not walking around. Whereas in New York, after a while, all your stuff is kind of public, in one way or the other. I'm not saying either one of those is bad; they're both great for a very specific kind of comedian. And I'm glad that they both exist.

In theatre, once you've got the character and you've got things together, you can relax into it. Film has a different feel - you don't get that through line of not stopping. Theatre is like a snowball gathering momentum and getting bigger, whereas in film, it's a bit stop and start - but you do tend to adjust to that quite easily.

Across the Atlantic, commercial therapy of all kinds provides so many more comfortable outlets for people when they are under pressure. The English tradition is to get a grip, whereas the American version is to get in touch with your feelings, to say: 'I'm a good person. Isn't it terrible when bad things happen to people like me?'

For a lot of the time I was in Berkeley, I was single. I was living in a kind of collegiate apartment by myself - it was like a protracted summer vacation. So at least in hindsight, I have gloomy emotions attached to Berkeley, whereas I started coming to New York because I was dating someone, and it was very exciting and romantic.

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