I have always had this energy, which I think of as overdrive.

When I tested for Billy Budd, I had that kind of confidence that comes with the certainty that you're not going to get something. I was very rough around the edges.

I've never wanted to become a politician, an interior decorator, I've never wanted to speculate and make a load of money. I just wanted this.

In my youth I dreamed of being an illustrator.

I wasn't at all sure I could make that sort of leap into that sort of comic book reality.

What I wanted more than anything was a long career.

I work primarily for the camera-it's not something I really talk about a lot, but it's part of the way I am as a movie actor. The camera is my girl, as it were.

I was very disappointed that so much of the work I did on The Haunted Mansion didn't arrive in the final cut.

Although you have some films that are a real bummer, there's always a film that comes up where it's just heaven.

It wasn't until I saw James Dean that I began to think that maybe I could actually do this. Movies didn't have to be just this fantasy with this impossibly handsome guy.

I have always had this energy, which I think of as overdrive.

My favorite film is Gene Tierney and Tyrone Power in The Razor's Edge.

In the case of Elektra I really wasn't sure I could pull it off. There were so many intellectual leaps. My character, Stick, is blind, but he can see better than most people. So I had trouble kind of finding the logic.

Peter Ustinov was the first really positive influence in my career. He was real and he bore witness to it. The things he said to you, he lived them.

He's Soderbergh, we're working for him. It doesn't matter what he's doing; we'll see it at the premiere.

A lot of newspapers say, Terence Stamp is playing himself and we're as bored as he is.

With Fellini, the fear dropped out of my work because it was such a happy experience... hanging out with Fellini, having pasta on the set with Fellini, and going out with Fellini!

From the very first movie I ever made to the current time, there have been times between action and cut when I've sensed some kind of new dimension that I haven't been familiar with before.

A lot of people only see me as villains.

I've been doing Tai Chi on and off for 20 years. The fundamentals of all martial arts are the same.

At this point, it's either for fun or it's for money. I don't take movies that I don't really like.

As a boy I believed I could make myself invisible. I'm not sure that I ever could, but I certainly had the ability to pass unnoticed.

Unless I try, I'm never really going to be at ease with myself.

All actors are incredibly insecure.

It's such a performance to bring stuff into America. It's a great luxury when I am in England.

My star was kind of fading towards the end of the '60s and suddenly I got this call from Fellini, who just appeared to kind of love me!

I have to be stretched in some way. There's not enough things that come my way that I fancy.

A lot of young directors, they're not confident; they're not open to the emotional level of the scene.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

I merely took the energy it takes to pout and wrote some blues.

I didn't know at the time that the energy that I was giving off was like a battle Emcee.

The young people look great on television. They're youthful and have a lot of zip and energy, but when you see them live, they can only do about 20 minutes because they haven't got the training to hold an audience for an hour and a half or so.

It takes a lot more energy to fail than to succeed, since it takes a lot of concentrated energy to hold on to beliefs that don't work.

I try to give positive energy in all my shows.

In modelling, there is no point in trying to prove you have a brain, so why even bother? I'd sooner save the energy for something more meaningful.

I was part of it, and I am still part of it today in terms of what it means to a whole new generation of people who are interested in the enduring energy, achievements, spirit and creativity that exemplified our era.

I always like having kid energy around. I think it's good for a movie, even when you're doing dramatic stuff.

You had to decompress the pressure before the race. I taught my heart to relax. I lay down before the race. It gave me more energy just before the race.

As long as I had easy access to psychedelics at the government-sponsored research project, most of my energy went into psychedelic sessions.

You can have anything you want if you want it desperately enough. You must want it with an inner exuberance that erupts through the skin and joins the energy that created the world.

Nerves provide me with energy... It's when I don't have them, when I feel at ease, that's when I get worried.

Electric cars aren't pollution-free; they have to get their energy from somewhere.

When I see someone who is starved, they don't look alert. They don't have boundless energy. If you're too skinny, it looks like you're near death.

Why is it so painful to watch a person sink? Because there is something unnatural in it, for nature demands personal progress, evolution, and every backward step means wasted energy.

Comedy is so hard; it's so much harder than drama. The pacing of it, the energy of it.

If for no other reason than the energy crisis now facing this country, the federal government should be eager to become partners with us in rebuilding our city.

It takes a lot of energy to teach.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.