Quotes About Adaptation

Catania was a real learning curve. I grew amid difficulties. In terms of courage and ideas, a lot about my Atleti comes from Italy.

Initially when I moved over to Italy it was really easy because I was living my dream. Everything was brand new. Then I began to get into the routine: training, school, home, home, school, training. That's all I did for 18 months. I had 20 euros to live on a week and I couldn't do anything else, because you can't with that amount of money.

When you've played at a club like River, who are a massive, massive club in Argentina - and Roma, the same, in Italy - you learn how to deal with the pressure. After that, you can live with anything.

People were used to see me in a 3-5-2 because in Fiorentina that was also where I played. But the hard thing was to adapt to that when I arrived in Italy.

I know Italy very well and I know what gets said, written and speculated about there. I'm used to it.

It's like after uni when you go to do a master's. Italy is like that for defenders.

Entertainment has this way of resetting itself.

Custom adapts itself to expediency.

I'd been an artist since I was 17 and I was used to just putting things on iTunes. So I was like, I need to educate myself and figure out the new industry.

It really wasn't until halfway through my career that I learned had to jab and to box and to kickbox.

I had to learn to call book jackets 'jackets' rather than 'covers.'

I get called Jacqueline Bissette in America. In France, I get called Jackie Bisset. And actually, it is Jacqueline Bisset, which is not that easy to say.

I was never a fan of open tunings, because some people will do that and fumble around. But that's not my jam.

I always loved slow jams and wanted to make them, but didn't know how I could because I couldn't sing. Then Barry White made 'Love Serenade' in which all he did was talk the entire jam. I said, 'I can do that.'

I have always loved doing accents. I have lived with my parents in a number of countries, including Italy and Jamaica.

Having grown up in different countries - Jamaica, Italy, U.K. - I catch the accents quite easily. In the U.S., they don't know where I am from!

You need a good James Clavell novel, I think, to make a good miniseries.

Roles constantly have to be redefined in any form of entertainment. Look back at the gangster pics of the 1930s and 1940s and the way James Cagney or Humphrey Bogart would play the part. These roles were redefined in the 1970s by Al Pacino and Rober DeNiro. And again in the 1990s by Gary Oldman and Anthony Hopkins.

James Franco, Seth Rogen, and Evan Goldberg are the ideal guys to adapt 'The Disaster Artist.'

It's always an interesting experience with the 'Saw' films, when a sequel comes out that I didn't have anything to do with, creatively, because here's this idea, this story, and this character that I created for James Wan, but now it doesn't need me anymore.

James Cameron has always been great about changing the rules.

One would think that it would be very easy, with an iconic character like James Bond, to keep making the films, but it hasn't been. But, it sure has been entertaining and rewarding.

I would say the main thing is, don't just copy yourself, which is what a lot of sequels do. And in some cases, it works. Like James Bond movies. But James Bond is a different type of character.

It's good sometimes to have a character that starts as one thing and ends as another, but James Bond, Hercules, these are pretty enduring stories.