There's a panic, a rush, to this 'achievement' of fame. There's also the ambivalence of fame: the love of it and the hatred of it. We sometimes hate the famous while, at the same time, straining to achieve fame oneself.
I think the most attractive people are the confident ones, regardless of their literal appearance, so I strive for that. Basically, I think you'll always be the size your body needs to be if you only eat if you are hungry. If you never eat for any other reason, you'll be just the right size for your body.
It seems to me so much technology could be applied to entertainment. Augmented reality, and even just the iPad - touch-screen technology, it was, you know, it still is extremely underused by entertainment.
Augmented reality, and even just the iPad-touch-screen technology, it was, you know, it still is extremely underused by entertainment.
You watch award shows, and not only are you not nominated, but you're not a presenter and haven't been invited to any of the parties.
Starting in my 20s, I couldn't wait to look like Anna Magnani or Isabelle Huppert, all these great European actresses - Charlotte Rampling - the cheekbones and the heavy lidded eyes and the dark circles under the eyes, you know. So around 42/44, I started getting a little character on my face, and I was so glad.
When you have to write a letter, you're automatically put into a state of composure and a kind of formality. You can't help it. So, no, I never once got a letter where someone just popped off at me.
I'm consumed with tech - medical, computational, impossible tech. So, I don't know exactly what I'll wind up doing, where I'll go with all this schooling, but I'm willing that it be better than my dogmatic vision of it all.
When I got 'Family Ties', I wasn't even thinking about being an actress. I thought I might become a window dresser.
'Family Ties,' to me, was strictly '80s. It was from the beginning of the '80s until the end of the '80s, and it was very specific to that time. Ronald Reagan was president.
The character - character - of Mallory on 'Family Ties' was a year younger than me. A fictitious year younger than me. So, I am not 21. I am not getting into the club. Boom.
I was a regular, so that meant I was working every week on the series. Which was fine. 'Family Ties' was a fantastic series. It's all good.
When I was in my teens and 20s, I looked to older Italian and French women. They always seemed so incredibly attractive to me because of their confidence. And because their faces had evidence of age: lines, dark circles, and half-lidded eyes, it made that confidence so rebellious. And that was incredibly attractive to me.
With computer science, I had to go through that uncomfortable process of my brain establishing a hash table, if you will - the coders will get that - for this new information, because I didn't have one. So I had to establish a brand-new file system from scratch.
I think Kathie Lee Gifford had a line at Wal-mart, and Monica Lewinsky had a line of handbags.
My personal feeling about reboots is - I'm very against it. I feel bad for the pop culture of this generation because I feel like they're getting a lot of retread... a lot of digested and vomited stuff from our teens and 20s and all of that.
There's a confusing message that we're sending people now, that lots of money can made off of simply having a lot of followers and having no discernible skills or talents. I don't know if I'm in a minority or if it's just a guilty pleasure for people, but I think the preponderance of reality shows is of great detriment to human beings.
I'm picky about skin care because I hate perfumes or anything that says 'It will take away all the lines on your face.' I don't want to do that. But I do use Kiehl's and this skin cream called Restorsea because it makes my skin look nice and feel soft.
I like to go dancing, have a few beers. I like being alone, too. I have days where it's 'God, get me a shot of tequila.'
I wanted to find a way to intelligently argue that we should be valuing our own skills and talents instead of valuing the number of people we can get to look at us.
