I spent a couple of years not doing any music or anything, just here in Hawaii trying to get healthy and adjust to the new regimen I was setting up for myself.
I can't do Twitter or Facebook, mostly because I feel like I'm the type of person who has to regiment the amount of time I spend doing certain things or I'll just wade in it, and then I'll never come out.
It would almost be sinful to say that I regretted doing 'Charlie's Angels' because it did so much for my career.
When men are not regretting that life is so short, they are doing something to kill time.
There's nothing I'm doing to my body that a regular person is not doing to theirs outside of just running into somebody at full speed.
It's always good to show that what you're doing is who you are, what you see on film in the regular season is what you're seeing at the Senior Bowl.
In '85, I went through rehab and I wasn't ready. If you're not ready, you're not ready. You don't want to hear the truth, and you're gonna keep doing what you keep doing.
'Grease' was my Broadway debut. That was eye-opening. At the same time, it was very familiar. It was a Broadway show, but it's kind of the same as doing a show in Minnesota. It's the same type of rehearsal process. You are doing 8 shows a week, but I worked at a theatre in Minnesota that did 11 shows a week.
I want people to see a real person on the ice. I want to seem tangible, hard-working, passionate about my skating, not just going out and doing something I've rehearsed a million times.
Music is what I do pretty much all the time. I'm always in the studio. I'm always rehearsing for shows. Always doing shows.
Often, the more reliably you perform a task, the less likely it is for someone to notice that you're doing it and to feel grateful and to feel any impulse to help or to take a turn.
The theater needs continual reminders that there is nothing more debasing than the work of those who do well what is not worth doing at all.
I really enjoy doing remixes, but I don't want to be known as just a 'remix artist' for the rest of my career.
I get inspired when I look at Tom Lennon, who did 'Reno 911!' for six seasons while writing huge movies and directing and also doing other pilots; he did that FX pilot, the 'Star Trek' thing.
Flying solo, you have a fair workload. I'm not only flying the balloon but doing the navigation, communications, repairing the burners, taking care of the equipment.
I was a repertory actor, which meant that I did a play every week. I was a different character every week; for a year, I was doing 40 or 50 characters.
When I was about 6, my cousin was very active in a Filipino repertory company, doing musicals and plays. Her aunt was one of the founders of the company, and she told my mom that there were these auditions for 'The King and I,' and that they needed kids. I auditioned, got in and the love affair started from there and just kept going.
I started doing repertory theatre in upstate New York when I was 15, went back when I was 16, and by that time decided that I really wanted to study drama seriously and go to an acting conservatory called Carnegie-Mellon University in Pittsburgh.
We never did a lot of weights, but a lot of repetitions. The most I would use doing squats was 300 pounds.
What I think is remarkable is the force of habit and the fact that while we can have a practice for doing something that has been repetitive and established over many, many years, it doesn't actually mean there's any virtue to doing it that way at all.
