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I've always looked at 2016, but 2020 is realistic for me. I'll be 23 in 2016, but if I keep on progressing, hopefully 2016 will be a medal chance as well for me.
No one put pressure on me to go to the Olympics; once I'd got the qualifying mark, I just couldn't say no.
That people believe I can be Olympic champ, it just spurs me on.
My granddad used to mind me at weekends, and if the game was on, and you wanted to get across the room, you had to crawl under the TV. So I've always been a Liverpool fan, and meeting Steven Gerrard was massive for me. He knew who I was before we'd even said hello!
Beijing was a huge slap in the face, and it forced me to look at myself. I have to realise that this is my life.
I never had a serious injury that kept me out of a big competition. Now everyone has injuries - to their feet or their knees or their backs.
Skating taught me to set a goal and to block out other things and just focus on this one thing.
Competitions make me nervous. When I go out on the ice, I just think about my skating and not, 'I have to do this to win.' I forget it is a competition.
People always seem to assume that we have a full, back-up support team - make-up, costume and a driver - but usually, in a war zone, there's only me and the cameraman.
If I'm in danger then it's usually my fault and it's up to me to get myself out of it. I am not in it just to get an adrenalin rush. No way!
Some people say to be an actor you've got to die to do it. I think it's healthy if you think, 'I'll do it if it works, and if I don't, I can do something else.' That way seems to work for me.
Not being published would be great. When I say that to other writers they look at me as if I'm totally insane.
Probably not needing to be published would give me more time to think about a book.
I don't want to spoil the magic, but it's a very curious thing that honestly baffles me. It's the nearest we'll ever get to playing God, to suddenly produce these fully formed creatures. It is a bit odd. Other aspects you work out more - you rework sentences, you rework imagery. But not characters.
The legacy of the fairy story in my brain is that everything will work out. In fiction it would be very hard for me, as a writer, to give a bad ending to a good character, or give a good ending to a bad character. That's probably not a very postmodern thing to say.
My father was an autodidact. It wasn't a middle-class house. Shopkeepers are aspirant. He paid for me to go to private school. He was denied an education - he had a horrible childhood. He got a place at a grammar school and wasn't allowed to go.
I did feel when my mother died if anyone was going to haunt me it would be her. And she hasn't, so I think it is possibly the end.
'Encores!' is, to me, a wonderful, warm, welcoming place, and I hope it always will be.
The main thing for me was when I won my first title in Kuala Lumpur. That was the biggest step that I made. I made the Top 100, and I've stayed there ever since.
Almost every Grand Slam, I'm in second week, which is pretty positive for me.
I put the movie days totally behind me... It was a part of my past that I really kind of put in a little drawer and shut the door.
I never saw movies I was in because my mom told me that would be prideful, being stuck on yourself.
My mother died when I was 12, and right after, my dad died in a car crash. I was 15 and had no family. The court sent me to live with my uncle and aunt in Missouri.
I grew up in Hollywood during WWII, and my mother was afraid that my father was going to be drafted because she didn't think we were going to be able to live on army pay. She didn't want to have to get a job, so she decided to put me to work, and that's how I got started in the movies.
I have met people in the street who say, 'You look like Karren Brady, but she is fat.' But I don't care. I am happy with the way I look; it's not something that drives me mad.
To any man currently thinking it's not safe to say anything to women these days, allow me to offer you a rule of thumb. If you're in any doubt about something you're going to say to a woman, just ask yourself if you'd say the same thing to a man.
It really annoys me when magazines put up these 'superwomen' with the perfect blow-dry, the perfect life - but nothing's perfect. People have a whole bunch of problems and it's how many solutions you can find to those problems as to how happy you are.
Right now I'm still only 25 and I don't think the maternal bug has hit me yet.
The fact that I've achieved this so soon is just a bonus, I guess. Everything from now on is a bonus for me.
Something that always fascinated me was the psychology and the psychology differences between men and women and how we relate to one another.
I've always had a man's mindset, and that's why I mostly have men friends, and that's why I've been around so many men. I've always been a tomboy. And any man that knows me will tell you I'm not a girly girl.
I remember specifically my mother telling me growing up don't put my business in the street. I was like seven, and I am like, 'What does that mean.'
One time, I went to an audition, and I stated my name, and the lady was like, 'Oh, that name sounds really familiar. I've seen you on TMZ.' Her first perception of me was what she had heard.
Even going back to the haters, it's messed up what they say, but that's made me stronger, and it's built me into who I am today, and I am completely fine with that.
I'm fortunate enough to take care of my family and provide for them, and that motivates me to keep going.
Wanting to be better as an actor, model, and person in general motivates me to push myself.
I try my best to just ignore the negativity. Which is hard for me because it's a lot to deal with.
We just dated the same guy, and that's kind of what it is. It's always a competition thing, and they compare us, but she is Rihanna. She's a pop star, and she's beautiful - she makes great music - and I'm just me, and I'm growing and working into myself. You can't really compare us. We're two completely different girls.
I was dying to start shooting for 'Paiyya.' I had worn no good clothes for months, and I was dying to wear good clothes. And, for 'Paiyya,' they gave me eight clothes to change in a day!
I must admit, strong films are more interesting to me, as, by the end of the day's shooting, you feel good.
When my first film 'Paruthiveeran' released, I had no time to get excited. It was a worrying time for me. I was anxious to know how it would be accepted.
I have been receiving calls from all quarters since the release of 'Madras.' I need to thank audiences for believing in me and making this film successful.
I've known Radhikaa akka for a long time, and have seen her perform like a pro in front of the camera. But, to work with her and mouth dialogues in her presence had me in jitters.
My fans loved 'Rathnavel Pandian,' as they love mass, but 'Theeran' gave me complete satisfaction.
I always remember what my dad told me when I decided to turn into an actor. He was emphatic that whatever I do, I should get accepted by the audiences who watch my films.
Many people tell me that my pairing with Tamannaah worked big time towards the success of 'Paiyaa.' In 'Siruthai,' our on-screen chemistry will crackle as we share a terrific rapport.
Once I heard Karunakaran was part of 'Lingaa,' I told him to somehow arrange for me to meet Thalaivar. The 'Jigarthanda' team met him when he was shooting in Shimoga. It was a memorable meeting, as he opened the door for us, sat, and answered whatever we asked him. And, I got to meet him twice in two days!
Rajini sir gave me an opportunity to work with him because he liked my work, especially my style of narration and dialogues. Now, I can't go out and make something very different just to please him. He wanted me to make 'Petta' the way I want it and with my sensibilities intact.
I remember, when I was working in Bengaluru, Rajinikanth's film 'Sivaji' was releasing, and I wanted to watch it the first day, first show. My manager did not want me to take the day off, and I made up excuses stating that there was an issue at home and I had to go.
When I was working in Bangalore, short film making was fun - almost like a weekend getaway for me and my friends from the software industry.
Ever since I made the short film 'Black And White,' which had almost no dialogues, the idea of making a silent feature film fascinated me.
My parents have let me do whatever I am interested in. Initially, they were apprehensive, but when they realised that filmmaking was my passion and that I was doing a good job with the short films and the recognition in 'Naalaya Iyakkunar' TV show, they supported and encouraged me.
Besides being one of the most ambitious projects I have worked on, 'Mercury' has also helped me enhance my skills as a director.
People relate to my characters and see me in a different way. They identify with me and remember the nuances of my characters.
If fans consider me a heartthrob, I think it has more to do with the kind of characters that I have played.
I have fear of the audience and I am responsible for the scenes involving me, be it as a comedian or hero.
My mother would give my brothers and me a pile of catalogues and let us pick what we wanted for Christmas.
My mother often mailed me articles from 'Reader's Digest' about advances in DNA chemistry. No matter how I tried to explain it to her, she never grasped the concept that I could have been writing those articles, that something I had invented made most of those DNA discoveries possible.
My mother was a librarian, and she worked at the Black Resource Center in South Central Los Angeles and would call me to tell me stories that she read about that were interesting to her.
Being respected by people on both sides of the aisle is really important to me - even in an age when giving a hearing to 'both sides' is considered a smear in some corners.
I never imagined I would have the opportunities that I've had at NBC. For me, the opportunities have been endless, which I really appreciate.
People know my lyrics; they know the stuff I've written, and it's all about life, love, happiness, and these big euphoric moments. It would always bug me when I'd go to a club, and they're playing some chick on a stripper pole on the monitor behind me. I'm like, 'So that's not what I do - that's the other guy.'
I'm not the best singer in the world, but the albums have always been personal. They're stories about me and what I'm going through.
Once I wrote 'Atmosphere,' I thought, 'This is my story; it's me and my life and what I've gone through to get to where I am.' I'm not the best singer, but still. All of my albums are personal, but putting myself out there and singing is one more thing that makes me vulnerable - one more thing that people can fire shots at.
I've always been a big advocate of making shows affordable because a lot of these bottle-service clubs and events are geared toward really expensive experiences. Club music is for everyone, and it drives me crazy that people are getting priced out.
When I can control my own show, I want the price to be affordable so fans can actually see me. It's a challenge because I have to do a lot of navigating to make the production stellar but do it on a realistic budget.
It's weird, when I go back to San Francisco, the few times that I've done shows there since leaving, it still feels like I live there. It's very, very strange for me. That's where my daughter was born, at UCSF. I have this huge attachment to San Francisco. It's like a love affair.
For me, 'Atmosphere' was more about looking inwards and reaching out to people close to me. To emphasize the fact that I'm singing on the first single, this album is really more about me and songs that I've written instead of collaborating with people.
Music leaves such a big impression. I always wondered, 'Man, if I grew up in Nashville, would I be making Country records now?' I honestly feel like Chicago had such a big impact on me.
I think that most people who hire me to do a remix just want it to work in a nightclub, whereas when I'm writing my own album, I don't have to worry so much about 2 A.M.
Somebody gets to be smart and somebody gets to be dumb. If we win, it'll be because of the president. And if we lose, it'll be because of me.
Has there ever been a more revealing moment this year? Let me just put this in fairly simple terms: Al Jazeera now broadcasts the words of Senator Durbin to the Mideast, certainly putting our troops in greater danger. No more needs to be said about the motives of liberals.
You may be right that people say: 'You know what, we had Obama. He was inexperienced. The guy had great rhetoric, sounded good, looked good, but has turned out to be an utter disaster. I want someone where I have confidence and credibility that they're up to the job and that I can trust what they tell me.'
Remember the Tea Party movement didn't get started in September of 2008 when the bank bailout was passed. It really began on Feb. 19th, 2009 when a television commentator named Rick Santelli stood up and said what the hell are we doing bailing out people who couldn't afford a mortgage by taking money from people like me who are prudent?
My parents, particularly my father, had been used by commentators, political journalists and political commentators, to attack me, and the collateral damage was the reputations of my father and my mother.
It's not comfortable for me to write about my family. I'm not comfortable writing about me.
Around 2005, the Canadian army tapped me to do a dramatization for a series of foresight workshops they'd done. They had stacks of papers and needed it boiled down to something simple enough for a 4-star general to understand. We decided to do it as a story. That's how I created 'Crisis in Zefra.'
The doctor punched my vein, the captain called me Cain, upon my belly sat the sow of fear.
Anytime someone expects something from me, I expect about five times more from myself.
Playing 'MyNBA2K' and 'NBA2K' is an essential part of my offseason and keeps me grounded during the season with all my travel.
For me, it's about trying to do everything I can to help us win. Try to bring that energy every night, try to make it as contagious as possible and try to win a game.
Thanks to my dad, I've always had it. He always told me how important it was to be versatile. Every time we worked out in the gym, it was always all the skills, not just being a big man.
It's hard to get me to even say I played good. That's just in me. I'm just never satisfied. A lot of my friends get annoyed by it.
It doesn't matter to me where I play. It matters what you do at the place you play at.
I remember being back in Knollwood Middle School back in Piscataway. I remember waking up Saturday mornings playing with my age group and the age group above me.
Something they taught us at drama school, and it's taken me a long time to realise it's true through practice, is that you can't put judgments on a character you're playing, especially while you're doing it.
I've got to be honest, with every job I do there's a part of me, that child in me, that goes, 'This is the one.' And it rarely actually is.
There are decisions I could have made, moves I could have made, that would have got me seen more. I do it because I enjoy the craft and the challenge of trying to make something that doesn't exist come alive, and that's what I'm in it for.
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