I spill it out as fast as I can. I don’t really edit. In Brazil, recently, I wrote 70 pages. In London, 80 pages.

It's funny that I got to do 'On the Road' because the thing that had the biggest impact on me growing up was reading books. I was very inspired by the book and this spirit of Dean Moriarty and how envious we all are of somebody who can be that carefree.

It's funny - I read that women look to chiseled-faced guys for one-night stands, and to round-faced guys for marriage. When I'm rounder in the face, I like to say, 'This is my long-term look.' Or 'This is my wife-and-kids look right here.

In my experience, the best directors I've worked with hired people for a purpose. They hire them with trust. There's not many notes. There's confidence and support.

I've always had a longstanding dream, ever since I was a kid, where I was running on a big lake of ice and I kept running and kept running, just about to where I was trying to get to, and I fell through the ice, and then I couldn't find the hole where I fell through to get back out again.

In the present time you don't really establish what you're going through, but after time it's declared something. Right now there could be some writers doing something expressing their thoughts in a whole different style that we're not aware of. This could be the 'in-between the notes generation.

I had done chorus before in school, but I was only trying for an easy A. I was a bass going 'dum dum da doo wop.