When I was a graduate student, I actually took a course in development economics and I thought it was the most boring thing in the world.
When I came to Mumbai, I knew that I am an actor but I am not a working actor. To keep this actor alive, I had to feed him, I took up the casting job so that I can run my house.
I think casting is everything. You get a great cast and - certainly, as happens in 'The Hour' - so many of those performances on the page were transformed by those actors who took those parts and made it into something completely different.
Once I even took the train to Utrecht, forty miles from Amsterdam, with my yellow star, this star which I still have. Why did I go? I just wanted to visit some friends. I was a little bit crazy, a little bit insane.
Yes, sir, a patrol car came and took me down to a station where they were trying to develop films, but they hadn't got the facilities to develop colored film.
'Licensed to Ill' was like a cold, and we took so much vitamin C that we'd never get that cold again.
As a band, we always took a really long time to make records, so unfortunately, we got into that habit of, like, 'We'll work on it tomorrow.'
I used ribosomes from very, very robust bacteria under very, very active conditions and found a way - I actually took advantage of research done before me at the Weizmann, the same institute I am now - how to preserve their activity and their integrity while they crystallized.
It may be a coincidence, but from the minute I took anti-depressants, I didn't pick up a guitar or a pen for seven years.
My journey began with a single pencil. While traveling through India in 2006, I asked a boy begging on the streets, 'If you could have anything in the world, what would you want?' and he answered me with two words: 'A pencil.' Luckily, I had one in my pocket, and in the second it took me to give it to him, a defining dream was born.
