I have my own cosmology that's kind of like an esoteric mix of a lot of different things that work for me and that to me, are worth exploring. There is a little bit of the archetypal Christianity that I've kind of reconciled because when you're raised that way, inevitably that infrastructure will persist into your adulthood.
Between the theme parks and the movies, the Disney iconography was probably the first set of archetypes that I was exposed to. Walt was able to expose me as a child to the full array of emotions, including fear and sorrow. Those movies and attractions haunted my dreams and made a deep impression on me as a child.
It's important to me to create archetypes of human experiences and make them so that the song has a sense of purpose when you experience those emotions. You know, just making people feel like they're not alone.
That's what noir feels like to me. It feels like some kind of recurring dream, with very strong archetypes operating. You know, the guilty girl being pursued, falling, all kinds of stuff that we see in our dreams all the time.
You can't hold me to the same standard as the president or a school teacher. I'm just a comedian. My job is like Archie Bunker.
People called me a hoodlum and a thug. But they didn't tell you I was a carpenter, an architect, a stand-up comic - even a bartender. And a barbecue cook. But they didn't tell you that.
I don't think the people wanna see me play Clyde Johnson the architect.
I make me. At 18, I decided I wasn't going to have an unconstructed self ever. I was going to be the composer, the designer, the architect of me. It's been really fun.
I used to not like being called a 'woman architect': I'm an architect, not just a woman architect. Guys used to tap me on the head and say, 'You are okay for a girl.' But I see the incredible amount of need from other women for reassurance that it could be done, so I don't mind that at all.
Believe me, that was a happy age, before the days of architects, before the days of builders.
I went to a school with the kids of judges and elected officials and architects, civil leaders, and influencers. And I felt very much a minority in every way. But it did expose me to incredible things.
I was a very interested arts student, I was always into that part of school and when I got into high school I went into architectural drafting. It gave me an understanding of how to build things and it's really helped me put things in perspective. With my music and my movies, to me it's all art.
I used to love to draw. I didn't want to go to art class because I felt that would be too corny when I was young, but architectural drafting was the cool thing to do because there was more precision. It taught me a lot about building and structures and doorways and frames and windowsills.
To me, a building - if it's beautiful - is the love of one man, he's made it out of his love for space, materials, things like that.
What drove me to do 'Dead Wake' was that after doing the most preliminary of reading and scoping out what kinds of materials might be available in archives and so forth, I realized that this book - the research, the writing - would present me with a rare opportunity to explore to a full extent the potential for suspense in a nonfiction work.
I'm not precisely saying that a really good board meeting at the MLA (Museums, Libraries and Archives Coucil) makes me want to go and write poetry, but there is a pleasure in doing that sort of thing well.
To me, feminism is believing in women's equality, and I ardently ascribe to that belief.
This new art made a deep impression on me, and I began to study it ardently.
God forgive me if I do wrong in following with ardor the strongest instincts of my nature.
Making 'The Avengers' was very important to me, but it was also extremely arduous. I missed my friends and I missed my home, so I decided to throw them all on camera, which is the only way I seem to know to relate to people.
