I'm clean and dope like heroin soap
But I always reassure them that as far as my contractual rights can go, I will protect them and make sure that they have approval over every bit of it so that they know I won't show something that's embarrassing.
Mini-Me was the pint sized clone that was the perpetuation of Dr. Evil's own legacy [in Austin Powers]. That concept earned the sequel.
When we had ideas that earned there way in [Austin Powers], it began to get okay. The hook for me was 'Mini-Me. ' We only auditioned one guy - Verne Troyer - and at the time I said, 'we have to get this guy, get him life insurance, whatever he needs' because there was no other way or actor to do it. It was amazing to me just to talk to him. . . he was Mini-Me.
I love Dr. Evil [from Austin Powers] as a walking, talking, narcissistic manifestation of everything screwed up about human existence - his desire to take over the world, and have the world reflect his own power lust.
When we did the first sequel [of the Austin Powers] , it was on coattails of the first one doing so well when it was released on video, so we really didn't know what to do with the second plot.
To this day, people ask me where is Austin Powers 4? I don't have that answer, it so hard to come up with a story that deserves an encore like that.
We have in England a curious belief in first-rate people, meaning all the people we do not know; and this consoles us for the undeniable second-rateness of the people we do know.
For me, my work is pretty much a lot of my identity. I mean I live to work, basically. With money I'm able to earn I don't put into clothes especially or things like that. I use it as a way of buying time to work. That's how I see money for me. It represents time to be by myself working on these ideas. So in that sense, the work is kind of a surrogate religion, maybe not so surrogate, maybe it is part religion.
Good evening, and welcome to a private showing of three paintings, displayed here for the first time. Each is a collectors' item in its own way - not because of any special artistic quality, but because each captures on a canvas, and suspends in time and space, a frozen moment of a nightmare.
The thing is, the only real sign of life is growth. And growth requires pain. So to choose life is to accept pain.