You know what I want? The answer is, I truly don't know what I want. I don't want to do a television series. I want to do dramas as well as comedies, but I have no idea what kind or in what order. Just give me the chance at them.
The fact is we can only love what we know personally. And we cannot know much. In public affairs, in the rebuilding of civilization, something less dramatic and emotional is needed, namely tolerance.
Definitely for myself, I find myself gravitating towards dramatic work. In terms of sitcoms, you know, I always tell my agent I don't want to be seen.
I drank a lot when I was a teenager and I don't drink any more, because that's when I thought, you know, I'm gonna end up a car wreck.
I come in. I'm going to sketch, I'm going to drape, I don't know what I'm going to do.
I think, you know, when you're a teenager, sometimes your emotions are a little bit more drastic than maybe when you're in your 20s. You sort of level out a little bit.
For most, the largest asset is their home. This becomes a sentimental issue, I know, but if you're holding on to a home that you can no longer afford - or you need the liquidity - you need to think about solutions. One might be to bring in a tenant or roommate; a more drastic measure is to sell the home and downsize.
I know this sounds stupid, but in some ways, the way I look is a drawback.
Fame is fickle, and I know it. It has its compensations but it also has its drawbacks, and I've experienced them both.
Writers know that sometimes things are there in the drawer for decades before they finally come out and you are capable of writing about them.
I am particularly drawn to the form of meditation called Japa. I know it works.
Science fiction writers, I am sorry to say, really do not know anything. We can't talk about science, because our knowledge of it is limited and unofficial, and usually our fiction is dreadful.
Now I've been free, I know what a dreadful condition slavery is. I have seen hundreds of escaped slaves, but I never saw one who was willing to go back and be a slave.
Upon the farm of the uncle with whom I lived, we did know of the mortgage as some dreadful damper on youthful hopes of things that could not be bought. I do have a vivid recollection that the major purpose of a farm was to produce a living right on the spot for the family.
I married Stephen Gately off to so many people because Stephen didn't want anyone to know he was gay at the start. He was dreading all of his life that this was going to ruin his career.
I lived with a ninja once: a black guy with dreads who smelled like onions and garlic. He had a magic sword. Whenever you touched the sword, he knew about it. I don't know how.
I want my little girl to tell me who she is so I can encourage her and not impose my desires for her on her life. I want her to dream big and to know that if she is willing to earn it, she can have anything - and become anything.
Growing up, when I was at live shows, I was always hoping someone would come out on stage and say, 'The guitarist is sick and couldn't make it... does anybody know how to play all the songs?' That was always my little dream. It was a massively inspiring thing to be in a space with live shows.
I'm outdoors a lot, so I get dark. Guess who gets stopped? I've been pulled over, and they ask, 'Where are you from?' I say, 'Montana.' They say, 'Are you sure? And I say, 'I'm reasonably sure I'm from Montana, but you know, this is a dream life.' You start on this shtick with them and it's fun.
I have a very healthy dream life. I dream a lot many, many, many nights a week. When I'm shooting, it's even more - I don't know if it has to do with stress or with creation.
