We came around the corner, I kissed her and after I kissed her she relaxed. And then I grabbed her and kissed her again and she was shocked! And that was what we wanted.

If he didn't fall in love he would have never come back near the end of the film. Because, what man is going to dishonor himself so that he comes back in front of the man that took a woman away from him... and warns her to save her life?

I was very pleased you know, and I was afraid that I might stick out, but I didn't. My happiest thing about that picture is that I proved that American actors can speak as well and also fit in with an ensemble like that.

He saved the production a tremendous amount. Now they did the scene where Omar is on the horse and he's in the deep snow, they went to Finland to do that. That scene they went to Finland for a week. I wasn't around then.

I said 'well, I'll kiss her twice, you see? We'll come around, I'll kiss her, and if you put a little more track down for the camera, then I'll put my tongue down her throat and you'll get what you want'. He said 'You think so?'

We came around the corner, I kissed her and after I kissed her she relaxed. And then I grabbed her and kissed her again and she was shocked! And that was what we wanted.

Only after awhile. After it came out and people began to engage in discussions about the social reflections of the film that I realized it had an importance I hadn't thought of.

I had read the novel and I had heard David Lean was going to direct it - and it came as a surprise to me because American actors, if given the chance, can do style as well as anybody and speak as well as anybody.

And I'm supposed to grab her and kiss her and she's supposed to react. Well, what happened was, Julie was very nervous at that time, given this incredible part which she did beautifully.

That's not a villain, that's a man whose a victim of being in love with the wrong one.

Now that was one thing, but from an actor's point of view, this poor young man, crying from the moment I opened the door to the moment he left. Now if an actor did that they would say he's over-acting.

I'm not so sure that younger people today really appreciate the enormous bravery that went into the creation and production of that film, or how important a film at the time it really was.

Anyway, so what he did was, he spread sheets for 100 yards and underneath them he'd put things so there were bumps and different levels and on top he'd put little bushes and if you didn't look to close, it looked like snow!

He got up and there were both of us in our underwear and this kid goes through the whole thing again, all the closets, the bathroom, everything else and then he left.

Is this a proposal? I'm married now, you know.

We come. We go. And in between we try to understand.

I was pleased when the picture was over I fit in all right and I spoke well enough as I said before, cause I was scared to death there for a minute. I mean, you're doing a scene with somebody like that or they're watching you or something, you'd better come up with something.

I didn't ever think of it as a social thing at the time. I took it as a good story. Maybe because I've always been kind of progressive so I never thought of it, you know.

'The Mark' I played a psychiatrist. And in the '50's everybody went to a psychiatrist because if you didn't, you'd have nothing to talk about at cocktail parties.

And the reason I really appreciated this is because after the picture came out, I was invited by the American Psychiatric Association to give a lecture. I couldn't believe it!

I made a big mistake with him the first day I shot. We're shooting the scene where I come back from the party, the dance, in the sleigh with Julie Christie and we turn the corner and go past the camera and the camera follows us just a little bit and we disappear.

Sometimes it's great, sometimes it's bad. I think the film could have been a lot better.

If you see the picture when things get exciting, he chews faster. When he really gets shocked, everything stops, including the chewing. So I worked it in for me.

I found out was, by the rhythm of my chewing, how I chewed fast, slow or what have you, I could tell the audience what my character was thinking and feeling.

Well, one of the problems of working on a story with a character that sacred in the religions of the world or in a picture about that person, is that you have to forget about that and play it as real as you can because you can't look at yourself and judge yourself.

I weep at everything. I love things so much - I just never want to dilute that.

Acting in something that I'm directing... I'm really enjoying it because, if for no other reason, that particular acting is like reading my mind on every single take. It's kind of efficient, for better or worse.

It'd be cool to chipmunk-ize 'The Virgin Suicides' soundtrack. All this ethereal French music, I think that would be unique to listen to.

I always gravitated a bit towards more of the fantasy, and 'Lost Girl' really fits in with that.

I think what people need to realize is that, with trans people, we're like everybody else. No group of people are all the same. All women are not the same, all men are not the same, all children are not the same. It's the same thing with trans people - we're all so different, we have different goals, different dreams, and different aspirations.

I bring a poofy gray down jacket with me wherever I go. It's meant for winter, but I use it most in the summer, when everyone cranks up the air-conditioning.

Hope springs eternal

I think of guitar players in terms of doctors: you have the doctor for your heart, the cardiologist, then one that works on your feet, your leg. But I believe George Benson is the one that plays all over. To me, he would be the M.D. of them all.

I had to get out of my record deal that I signed with my previous band and get a full solo record deal going so, with all of the paperwork that, that entails it did take a while.

One of the most important parts of my life has been community.

In Greece, Italy and, to a lesser extent, France, unsustainable tax cuts and spending sprees added to households' estimates of their private wealth relative to their wage income.

As an actor, you're tied to the writing. You live and die by what's written for you. And you can elevate that to a certain extent, but really, that's your blueprint.

Well, where is the money? Show me the money? Our allies have put up a few billion dollars, but the American taxpayer has been required to shoulder the burden of this war.

Yet, when child sex offenders are brought to justice and serve time for their offenses, they are often released into unsuspecting communities and left free to resume their sexual attacks.

It worries me about our unwillingness to really address reforms and modernization in Medicare. This thing was designed 37 years ago. It has not evolved to keep pace with current medical technology.

Being famous as a writer is like being famous in a village. It's not really any very heady fame.

In the same way that I had to follow an Italian manager here, I can imagine that it was not easy for an Italian manager to follow me at Porto.

Always behave as if nothing had happened, no matter what has happened.

I think listeners are hungry to hear quality.

There we were in the middle of a sexual revolution wearing clothes that guaranteed we wouldn't get laid.

If competition for Kaggle's top talent becomes fierce enough among banks, insurance companies, hedge funds - we hope the world's best data scientists will earn more than $50 million per year, just like the world's best hedge fund managers.

Brazil was is and will be in fashion.

You cannot have a creation without a Creator.

I never thought I would be in a comedic role; my past is in drama.