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People in my organization were very outspoken about what we should be doing with the Department of Defense. One of them is work on autonomous weapons. That, to me, is something I don't want to work on or have anything to do with.
I had a very difficult childhood. I was surrounded by people who had both parents, which made me feel different. Having a bit of a rougher existence early on, it made me appreciate the work ethic that my grandparents instilled in me.
To me, I approach a small-budget, artsy, European movie the same way as a big commercial Hollywood movie. That's the most important thing. Hollywood usually represents this big dream in people's minds, but to me, it's just hard work.
Writer/directors are, for me, the most inspiring people to work for because they are the person on set that knows the answer to all the questions. They have the most invested in the project because they've been with it from conception.
All my work, really, is based on my brothers and sisters. I had so many adventures with them and a big part of the work is to recreate those. It's easy for me to be around a lot of people, because I can retreat. I can watch everything.
For me, it's my work - I have a job, and that job happens to be with insanely talented actors. At this stage, it's normal to me. But when I meet new people, I realise, 'Oh, yeah, it's actually really strange. I have a very unique hobby.'
I've been kinda fascinated by misfits, outcasts, and downtrodden people. I've identified with them. 'Blade Runner' probably got me more work than any. It convinced some producers that I could play something other than a rural crazy, I guess.
I think it's a terrible thing to write and not enjoy it. It's a sad thing. But of course a lot of people do work because they need to eat. And we all need to eat, but that's not the only reason to work. You couldn't have paid me not to write.
It's a cliche, but the people who enjoy your work and who come up and say, 'I enjoyed that and I liked that,' they are the people who ultimately are keeping you in work. And so, it would be rude and ungrateful of me to be anything but polite.
I meet young people who know me and are familiar with my stuff. They know the package. They might have cherry-picked five or six key tunes. That's how it seems to work. I sometimes wonder if they realise they are not getting the whole context.
You have to get out there and compete. You have to work hard. People aren't just going to come knocking on your door and say, 'Please let me invest $1 billion in your back yard.' You need to be able to go and match the pitch and close the deal.
I work with a place in Santa Monica called Phase IV. My doctor recommended them to me when I started losing weight. They help people train for things like triathlons or biking and running races. They offer physical therapists, testing, lectures.
People don't understand that when I grew up, I was never the most talented. I was never the biggest. I was never the fastest. I certainly was never the strongest. The only thing I had was my work ethic, and that's been what has gotten me this far.
I have more than 4 million followers on Instagram. All the companies I work for want me to guarantee how much I'll post for them, but I'm not going to force my career onto the people who follow me. I refuse to do 40 Instagram posts about any campaign.
There are days when there's no will to do anything. It's not easy for someone in my profession, because you are always meant to be in the limelight. I can't just not turn up, as I will come across as unprofessional, and people won't work with me anymore.
People are composed of many things, and in my work, what influences me is the complexity of people - the chiaroscuro of dark and light. When I play a strong guy, I try to find, where is he weak? And, conversely, when I play a weak guy, where is he strong?
The more I think about the Olympics, even from afar, its mere concept stuns me. I can't think of any other line of work where, every four years, people gather to be ranked one, two, and three, then are more or less told to evaporate until the next go-around.
I'm a 'Clash of the Titans'/'Star Wars' baby. I'm not a new 'Star Wars' baby. I'm not an 'Avatar' baby. That full CG doesn't work for me. I need interactivity. I need to feel the goo. I need to feel people coming out of animatronics and just interacting with props.
For me, it's hard to enter any situation with people where we're considering everyone equals, because I bring all of this massive baggage into anything that I do, preconceptions of my work. That's a lot for the people that I might be bringing along with me to bear.
I know some people are like, 'I'm depressed, and I'm a struggling artist,' and that really works for some people, but that doesn't work for me. I have to be really happy, even when I'm writing my depressing songs; I have to come through that stage before I can write.
I think that I make chords when I paint, so I think you would be listening to the cello. It's deep, and it's resonant. A lot of people have compared me to Brahms - that slightly melancholic sensuality that's highly structured. Well, that describes my work right there.
I don't ever want it to be about me. A friend of mine told me, 'The difference between fame and notoriety is fame is when people know you, and notoriety is when people know your work.' The first one is not respectable, but the second one is, because that leaves a legacy.
Beyonce is my role model. You know how people say, 'What would Jesus do?' I always say, 'What would Beyonce do? In her career, what decisions would she make?' And I really think it helps me guide my career and be really nice to every fan and every person that I work with.
I'm no spring chicken. The same arthritis that ate up my left hip that finally got replaced hasn't stopped there... And touring is a lot of work. I'm impressed when I see people like Eric Clapton out there. Gee whiz, Eric, give me a break! I know it's gotta hurt somewhere.
I don't want to have one hit, one song of the summer, and then have me disappear forever. I really want my things to last, and I want my songs and my bodies of work to resonate with people. I want to hit people - at least make a dent in them. I want to make a mark somehow.
I teach voice, and I teach pretty much just, like, whatever people need. So if they want me to work on a monologue with them, or if they want me to do some work with them, I do that. And then I do master classes, like at high schools - which is my most favorite thing to do.
Tim Tebow is one of my biggest inspirations. I actually want to be able to do some of the things that he does in terms of the amount of charity work and the non-profit work, and the way he impacts people off the field. I think that is what is most inspiring to me about him.
Some people are very much comfortable working out in gyms. Basically, it is all about movement. If you are comfortable moving in a gym, that is absolutely fine. But gymming does not work for me. I don't like carrying those weights and doing workouts on those heavy machines.
I don't know what's in store for me, but I know that I want to create work, and I want to create an environment where I can bring in my favorite people and collaborate with them, and do something that is so much weirder and so different from what you'd see in commercial film.
Coming from the Malayalam sets, when I went to Telugu, people told me that I wasn't acting and that it felt dead. It was very subtle in Malayalam, while it is slightly dramatic in Telugu. It is quite fascinating to understand what each industry expects of you and work according to that.
There are old people in San Francisco because my parents still live there. The young tech bros don't see old people or children. The Mission district, where they live and work, they don't see children or old people. That statement revealed, to me, the blinders that the techies are wearing.
I've been a writer since I was 13. I've been writing scripts and having pitch meetings. So, when I do see people like Brit Marling getting things done, it lets me know that it's possible. It basically just tells me, 'Dude, get to work!' For some reason, I think that I'm not doing enough work.
Some people get very successful for something they're very cynical about - like Alec Guinness in 'Star Wars.' He thought it was ridiculous. Whereas for me, I'm so proud of 'Stranger Things.' I'm so proud of everyone's work in it. And it's become so successful. So for those two to meet is incredible.
I was at an autograph show, and there were a lot of people from TNA there doing meet and greets. One of the girls from TNA there asked me why I hadn't joined yet and I said I'd tried and it didn't work out. She asked me to give her a video and pictures, and a few days later I got asked to do a tryout.
I've observed some surprise in the reactions so far from people who were not aware that FromSoftware does other things besides 'Souls.' This serves as a reminder to me that we have an established reputation - and that we should work on different games so we can be more flexible and build a broader profile.
It would be too glib, not a hundred per cent true, to say that my father's career as a banker was what made me a writer. But it would be slightly true, and it was certainly the case that his work as a banker made me see that the trade-offs people make between their work and their lives are often badly skewed.
I've had people say to me, 'You'll never sell handbags. You don't work with leather, and leather is luxury.' To me, it's the complete opposite: leather is everywhere - it's so cheap a material; it's so mass produced. Over 50 million animals a year are killed just for fashion. For me, it doesn't have a luxury element to it.
I always feel like when I work with people, I work with everybody - from the person that's working the camera to the person that's running the water to the person that's putting the clothes on me, the person that's combing my hair, my makeup, the person that's like, 'You gotta sign these papers.' I try to hang out with everybody.
Eventually, when I got the 'Meadowland' script, I saw something in it that made me think I could make something special out of it, something that could work with my style. Emotionally, I connected to it. I thought, 'If I feel this way just imagining it, maybe we can make that happen on screen and make people feel something when they watch it.'
I was raised fundamentalist Christian, and now I'm not that. It was not an act of rebellion or anything. For me, it was about being in a line of work where I was meeting so many different people and feeling like they all had legitimate points of view that I needed to consider and occasionally these were at odds with ideas that I was raised with.