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“I've done roles before where I've wanted to be buff and sort of fit or whatever. And I like to try and be a little bit fit because there's usually one scene in a movie where you've got to run, which means you've got to run for about five hours nonstop. So, for me, it's just worthwhile being fit because doing a movie can be kind of grueling for six, seven, eight weeks. Or 12 weeks.”

“I remember when I got the part in Gentlemen Prefer Blondes. Jane Russell - she was the brunette in it and I was the blonde. She got $200,000 for it, and I got my $500 a week, but that to me was, you know, considerable. She, by the way, was quite wonderful to me. The only thing was I couldn't get a dressing room. Finally, I really got to this kind of level and I said, "Look, after all, I am the blonde, and it is Gentlemen Prefer Blondes!" Because still they always kept saying, "Remember, you're not a star." I said, "Well, whatever I am, I am the blonde!”

“The psychical condition of men's minds may be compared with a set of bells close together, and so arranged that in the ordinary man a bell rings only when one beside it sounds, and the vibration lasts only a moment. In the genius, when a bell sounds it vibrates so strongly that it sets in action the whole series, and remains in action throughout life. The latter kind of movement often gives rise to extraordinary conditions and absurd impulses, that may last for weeks together and that form the basis of the supposed kinship of genius with insanity.”

“The kind of love my mum talks about is full of worry and work and forgiving people and putting up with things and stuff like that. It's not a lot of fun, that's for sure. If that really is love, the kind my mum talks about, then nobody can ever know if they love somebody, can they? It seems like what she's saying is, if you're pretty sure you love somebody, the way I was sure in those few weeks, then you can't love them, because that isn't what love is. Trying to understand what she means by love would do your head in.”

“I'm not a lawyer I'm a kind of mouthpiece/activist type, though occasionally they shave me and stuff me into my Bar Mitzvah suit and send me to a standards body or the UN to stir up trouble. I spend about three weeks a month on the road doing completely weird stuff like going to Microsoft to talk about DRM.”

“I'm fairly certain that, at this very minute, the [Mars Polar Lander] is floating somewhere around the Neptune feeling tired and cranky and looking for a Holiday Inn.Of course, you'd have to have a heart of titanium not to feel a twinge of sadness while watching those dejected NASA scientiest waiting by the phone like the class wallflower on prom week.On the other hand, it was kind of fun to watch a bunch of men waiting by the phone and seeing how they feel when someone promises they'll call and then YOU NEVER HEAR FROM HIM AGAIN.”

“All the other editors at DC never gave me a moment's time. They would take the thing and give me a check and say, 'I'll see you in two weeks.' They never gave any kind of encouragement or information. They were very competitive with each other. They didn't want to teach an artist and then lose him to some other editor.”

“Every time I do a movie, I'm reading the script, or if it's something I have coming up, I'm reading the script, and I just spend hours and hours and days and weeks and months going over the script and just writing a lot of different ideas down, finding a little dialogue or just coming up with ideas for scenes and moments and all that kind of stuff.”

“It might be a good idea to have government totally by the people - that each person takes four or five hours of the week doing some kind of government job - in other words, along with what you do you also help maintain the government so no one person has total control - I might go down to an office for four hours and do whatever I'm capable of doing - writing out receipts for food distribution in a certain area - but it's all actually a monstrous secretarial job and that's all I think it should be.”

“With directors, some have a kind of in-built ability to just know how to work with actors and get the best out of actors, and some don't have a clue about acting. I think it'd be a good idea if directors put themselves in front of the camera, or even went on a six-week drama course, just to know a little bit about what that feels like.”

“I first met my husband when I was 15. He was very cool, in a band, all that kind of thing, but he took a long time to grow up. Our paths crossed again 10 years later, and after about two weeks I knew that was it. I'm glad I met him when I did, even though I was fairly young. Because I think sometimes you can crystallise into singledom.”

“Young people can listen to music at any moment in the day or night. Which is great, but I think it kind of devalues it as well. They don't feel the need to own it. They certainly don't feel the need to pay for it. I'd have to save up for weeks to buy an album when I was a kid, and that made it even more great for me when I finally got that thing in my hand.”

“I found cause to wonder upon what ground the English accuse Americans of corrupting the language by introducing slang words. I think I heard more and more different kinds of slang during my few weeks' stay in London than in my whole "tenderloin" life in New York. But I suppose the English feel that the language is theirs, and that they may do with it as they please without at the same time allowing that privilege to others.”

“Instead of putting others down, try improving yourself instead. The only person you have a right to compete with is you. In the meantime, treat others how you'd like to be treated. One trait that some of the best (communicators) share is empathy. A couple of kind words can not only make a person's day, but earn you a friend and supporter for life. For the rest of the week, whenever you see someone you want to judge negatively, pay them a compliment instead. See what happens.”

“There are some people who want me and my husband to stay where it is safe and draw a paycheck every week instead of what we are doing (which is creating and sharing our art with others). The truth is that there are people in this world - Dave and I being two - who would die a slow painful death if stuck in an office and made to do the kind of work that we are not made to do.”

“In the summer of 2002, we had spent six weeks shooting the three pilots of Mythbusters, and Jamie[Hyneman] called me up afterward - well, first he called me up to tell me to clear my crap back out of his shop - and he said, "Well, that was kind of fun, wasn't it? I mean, I don't see where this could go, because we pretty much did everything. But it was fun."”

“The first thing I say when people ask what's the difference [between doing TV and film], is that film has an ending and TV doesn't. When I write a film, all I think about is where the thing ends and how to get the audience there. And in television, it can't end. You need the audience to return the next week. It kind of shifts the drive of the story. But I find that more as a writer than as a director.”

“We've had 20 years of mass murders throughout which I have repeatedly told CNN and our other media, if you don't want to propagate more mass murders, don't start the story with sirens blaring. Don't have photographs of the killer. Don't make this 24/7 coverage. Do everything you can not to make the body count the lead story, not to make the killer some kind of anti-hero. Do localize the story to the affected community and make it as boring as possible in every other market. Because every time we have intense saturation coverage of a mass murder, we expect to see one or two more within a week.”

“In terms of driving, I actually don't have a driver's license, and it's kind of ridiculous. I've lived in Los Angeles for a couple of years and just have somehow managed to avoid taking the test, which I did last week and failed. I couldn't find the honker. I felt bad about it, but it's just a little bit embarrassing, I guess, to be in this film and not have a license.”

“I seem to wonder if we can reach some kind of new destination with cinema, or touch upon human existence in a different way to what cinema usually does in its very schematic and sometimes very controlled, plot-oriented ways of thinking. Sometimes I feel like I've found the holy grail, and next week I think it's a complete mistake and I need to try something completely different. It's an ongoing process.”

“That and when you're doing live action you don't normally get to see the thing before it's in production. In this case we'd go in every couple weeks and look at animatic and sketches. The way they do it - is they'll put it up on a screen and the storyboard artist who worked on that sequence will talk you through it. Kind of like a pitch session. Then they would leave and we would sit there with the directors and say 'Alright - what if we change that? What if we do that?' It's very different from live action.”