At this stage of the game, I am not sure what the hell is going to happen.
AC/DC's 'Highway to Hell' is the greatest meshing of vocal, guitar, and content I've ever heard. That's what I aspire to.
In the case of Sadie Gibbs, fans were going, 'Have you seen Sadie Gibbs?' I'm like, 'Who the hell is Sadie Gibbs?' I looked into her work, and went, 'Wow, this is why these people are so into her.' She's very talented.
When I'm on the red carpet, most people say, 'Who the hell is that?' It's downright embarrassing.
I feel I've had three careers in one, really. There was the 'Benny Santini' stuff; that came with a general sense of, 'Who the hell is he?' And then there was 'The Road To Hell' stuff, and now there's the blues stuff.
Hell is reimagined by every generation. We have to reinvent the worst so that we can reinvent the best.
I remember, when I was doing 'Nicholas Nickleby', James Archer came to see me at the interval and said, 'My father would like to see you after the show.' It felt rather as if I had been summoned by the Queen, and I was cocky enough to think, 'Who the hell is he to summon me?'
I like fruit baskets because it gives you the ability to mail someone a piece of fruit without appearing insane. Like, if someone just mailed you an apple you'd be like, 'huh? What the hell is this?' But if it's in a fruit basket you're like, 'this is nice!'
I ain't what I used to be, but who the hell is?
A man from hell is not afraid of hot ashes.
