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I try to do a variety of physical activities. I spin, take classes at Barry's Boot Camp, go to the gym, use home DVD's of ChaLEAN Extreme workouts, which I think are brilliant, and I run around after my three girls. Also, let's be honest. The amount of laundry I do is an exercise in and of itself!
I think race and racism is probably the most studied social, economic, and political phenomenon in this country, but it's also the least understood.
I think that there is an element where leadership is lonely, but I also believe that it doesn't have to be like that.
I think that building political power has to come from the outside and from within. Meaning, we have to build political alternatives to the existing system, and we have to try to impact what is happening in the existing system.
If I don't watch the news in a day, I think the potential for humanity is incredible. But anytime I look at the news, I'm like, 'We're in really big trouble.'
I'll be honest with you: I think that it's really difficult, this framing around 'good cops' and 'bad cops.' Policing, as a system, is incredibly corrupt, period.
I think that there are real concerns that we have around whose life is important and why. So if the official story is, for example, somebody was running from the police, does their life matter?
People think that we're engaged with identity politics. The truth is that we're doing what the labor movement has always done - organizing people who are at the bottom.
I have to be honest: I feel like I live in a constant state of rage, and I think a lot of black people do.
I think you are who you are, and your kids will see who you are. So you'd better be a good person, because they are going to see it, and that's going to shape them. They are going to become you.
I think I grew up really fast; I grew up in this really fast-paced business, and I never understood what it meant to take a break or take time off or recover, and I paid for it.
I don't think even when you find a person, you can be completely honest, ever. There's still pieces of you that you don't give away. I do believe you always need that place where it's just you, your thoughts, no one else's judgment or anything.
We have the potential to help people out of poverty, out of disease, out of slavery and out of conflict. Too often, we turn the other way because we think there's nothing we can do.
Failure isn't an option. I've erased the word 'fear' from my vocabulary, and I think when you erase fear, you can't fail.
But as I was saying, from my experiences, I think men tend to be more timid in expressing their feelings for you. Regardless, I always prefer a friendship first and foremost.
BUT, in terms of attractiveness, speaking in terms of physical aspects only I think that Argentinean, Italian, Mexican, and Spanish men are among the most attractive men.
Well, I think it's because I'm an only daughter. I have four brothers, a bunch of guy cousins, and so it's like I was raised amongst men. So I've always gotten along really well with men.
I was terrified of vault, like literally I hated it. I had a fear of running as fast as I could at a solid object, which is I think a normal fear to have because nobody would really want to do that. Once I got over the fear of running into the table I just kind of relaxed and now it's like autopilot. I love it.
People always think I'm not scared. I've noticed that whenever I feel stressed, everyone thinks I'm fine, and later, it's like, 'I was not fine.'
Helena Bonham Carter was one of my biggest crushes. And Rachel Weisz. I think I told her that when we were filming, which was probably a bit embarrassing.
My first album was all rock. I used to sing rock en espanol, but I don't think many people remember that.
I'd never been to a prom, I had never had the whole high school experience. I think I was kind of an anomaly. I don't think they knew where to put me.
When you are in prison, you have but one desire: freedom. If you fall ill in prison, you do not think about freedom - you think about health. Health is, therefore, more important than freedom.
I've run a very successful business, and I think I can also run a very successful team.
I have never told a lie or modulated my natural voice... I can't help what people think sounds male or female.
Hawthorne has given us a tradition that some people refer to as Yankee Magic Realism, and I do think there is a certain quality to the landscape that definitely leads into the dark woods.
I don't think I make much of a distinction between the 'real' and the 'fantastic.' They both seem to be threads in the same cloth as far as I'm concerned.
I think growing up is difficult and it's a process that I'm always interested in, with kids and adults, they are often on two different universes.
I think love is a huge factor in fiction and in real life. Is there a risk? Always. In fiction and in life.
I think secrets often come out. I spoke to a friend who is a therapist and I asked her if there were people who came to her and admitted to doing horrible things and she said, 'More than you know.'
The original fairy tale was about the youngest sister going into a room in the castle and finding all the bodies of the wives that came before her - she is confronted with truth, thinking about how often we think we know people and we really don't.
But I think if you do have a job that has quite a few elements to it, then it does mean you get to flex different muscles and different parts of your brain, which I do like.
Well I guess I always look at other people who have maybe more traditional jobs and I think gosh their weeks are so much more stressful and busy than mine.
I think your musical tastes are largely shaped at a young age by your parents, as they're in charge of what's on in the car.
I don't go through life thinking I'm on a conveyer belt I can't jump off, but sometimes it's helpful to think that things are out of your control.
I sometimes stop and wonder if I have a superhumanly high pain threshold and I just don't know it... But then I stub my toe and think probably not.
Student TV and radio are great grounding for all presenting. Just to get used to coming up with an idea, making it and getting it out there, I think that's a really good pattern and a good habit to get into.
I think comedy, so much of it comes out of the strange sort of golden instant 'cause you don't know why it's funny, but you captured it.
I think it's much more natural as a writer to want to tell one story rather than lots of small stories that are half an hour long.
I think when a couple stays together, it's because of compromises they've both made.
The irony is that we're really good at comedy in Britain, but for some reason, we make very few comedy films. And when we do, they're either quite American in style, or very Richard Curtis. And I like Richard Curtis, but I think only Richard Curtis should write Richard Curtis films, and other people should try and find their own style.
I read a little bit of nonfiction and a lot of poetry. I think of poetry as my shot of whiskey when I don't have time to savor a whole bottle of wine.
The thing that fiction can do is look from the inside out rather than from the outside in. Even memoir leaves me somewhat frustrated. I think now we need a poet to uncover what isn't on the surface.
Publishing a short story can sometimes feel like shouting into the dark... your words come out, and then nothing... but I don't think that's why I tend to write novels rather than stories.
I think 'Charming Billy' ultimately is a novel about faith and what we believe in and, above all, what we choose to believe in.
I think a misconception among many non-religious people is that anyone with a strong faith is, in all ways and at all times, blindly consistent, unwavering, unquestioning.
I learned really early on that I had to treat it as if it were a real job. This might be my middle class background - the Irish work ethic, which isn't quite the same as the Protestant work ethic - but still, it's, 'Get a job and show up every day. Be there. And don't complain. Who do you think you are: you're nobody special; go to work.'
Right away I think of two books - 'Wuthering Heights' and 'Rebecca' - and of just sinking into them as a young reader. I think they must have appealed not just to my romantic adolescent soul, but I suppose there's also an appealing darkness in both of them.
Some readers sort of suspect that you have another book that you didn't publish that has even more information in it. I think that readers sort of want to be taught something. They have this idea that there's a takeaway from a novel rather than just the being there, which I think is the great, great pleasure of reading.
I think it's handy for a dramatist of any sort, if I can call myself that, to make use of weddings and wakes, to make use of those moments and those rituals that cause us to pause and look back or look forward and understand that life has changed.
I don't want to write about violence, and I don't want to hang a plot on a murder. I think it's cheap.
Most of the characters I write with don't think an awful lot about their faith. They're not always questioning the church or feeling confined by the church or rebelling against the church.
I actually didn't think there was that many people out there who knew what it's like to not really have a home or have that home in one place.
I don't think I ever had a certain image of what touring was like... I think when you're young, you think it's very glamourous, but it's not.
I'm not going to release something just because they think it's the next hit. It's not what everyone wants to hear, but that's the way it is.
The pillory and stocks, the gibbet, and even the whipping-post, have seen many a noble victim, many a martyr. But I cannot think any save the most ignoble criminals ever sat in a ducking-stool.
In twenty years I've never had a day when I didn't have to think about someone else's needs. And this means the writing has to be fitted around it.
While working on my first five books, I kept wishing I was writing a novel. I thought until you wrote a novel, you weren't taken seriously as a writer. It used to trouble me a lot, but nothing troubles me now, and besides, there has been a change. I think short stories are taken more seriously now than they were.
I think any life can be interesting, any surroundings can be interesting. I don't think I could have been so brave if I had been living in a town, competing with people on what can be called a generally higher cultural level.
I was a housewife, so I learned to write in times off, and I don't think I ever gave it up, though there were times when I was very discouraged because I began to see that the stories I was writing were not very good, that I had a lot to learn, and that it was a much, much harder job than I had expected.
I think, when you are growing up, you have to pull apart from what your mother wants or needs. You've got to go your own way, and that's what I did.
I never start out with any kind of connecting theme or plan. Everything just falls the way it falls. I don't ever think about what kind of fiction I write or what I am writing about or what I am trying to write about. When I'm writing, what I do is I think about a story that I want to tell.
William Maxwell's my favorite North American writer, I think. And an Irish writer who used to write for 'The New Yorker' called Maeve Brennan, and Mary Lavin, another Irish writer. There were a lot of writers that I found in 'The New Yorker' in the Fifties who wrote about the same type of material I did - about emotions and places.
I seem to turn out stories that violate the discipline of the short story form and don't obey the rules of progression for novels. I don't think about a particular form: I think more about fiction, let's say a chunk of fiction.
It's not possible to advise a young writer because every young writer is so different. You might say, 'Read,' but a writer can read too much and be paralyzed. Or, 'Don't read, don't think, just write,' and the result could be a mountain of drivel.
I'm always trying. Between every book, I think, 'Well now, it's time to get down to the serious stuff.'
I like Patti Smith's lyrics, and sometimes think I could be influenced by them. But she has a kind of cool that's beyond me.
I've always felt, with 'The Iliad,' a real frustration that it's read wrong. That it's turned into this public school poem, which I don't think it is. That glamorising of war, and white-limbed, flowing-haired Greek heroes - it's become a cliched, British empire part of our culture.
I think it is the easiest mentality for a human being to be either colonized or to colonize. The structure of either the slave or the master seems to be the simplest and the most relaxing one to slip into. Either you are a slave, and you don't have to think for yourself, or you're a master, and you don't have to work for yourself.
I think I enjoy Sondheim so much because of the lyrics. The lyrics, the cornucopia of options.
When you're 20 and you're in acting school and your teachers tell you that 95 percent of actors are unemployed for twenty years, you think it doesn't apply to you. But it does take twenty years to become real, because that's what you have to do to be an interesting actor.
I just think Brian d'Arcy James is a dream come true. I've known of him ever since I saw him in 'Titanic,' and I fell crazy in love with him at that moment.
But I think you can strip the emotion and the subjectivity away while you focus on doing the science - and that’s really important.
Archaeology can be overlooked as a discipline, I think, but it’s incredibly important to have this other way of approaching the past - not just through historical documents, but through actual physical remains - objects, buildings and the layout of our towns.
So I think as a biologist I would like us to focus on this planet and finding solutions to sustaining humanity, to improving people's lives globally, but doing our absolute utmost to preserve as much biodiversity as we can, knowing that we have already been responsible for the loss of thousands of species.
I don’t think anyone is saying that we should be treating boys and girls exactly the same and that we should try to eliminate all differences. What the psychologists who do this work are saying is we should be aware of it and careful about it, especially if we think it could be limiting choices.
When I was in my 20s, and even though I was studying medicine, I didn’t ever really think that my body would fail. Now I’m in my 40s, I have to face a different reality - I, like everyone else, am slowly falling apart.
I was motivated to write about violence because I believe it's not unusual. I see it as just a part of life, and I think we get in trouble when we separate people who've experienced it from those who haven't.
I think understanding is the way to gain perspective - and therefore can live among those hideous realities. You can live with them.
I think you only learn what kind of personality you have by committing to things.
I think that I was lucky that I was 30 when I did 'Love Story', which came with this extravagant pop celebrity. I had already done 15 years of what I call 'real' work.' I was a waitress, chambermaid, and a photographer's assistant, so I knew that I was tremendously lucky as a novice actor to have that big hit.
I think something will soon have to be done to protect people from hacking and blogging and lying and spreading rumors and chasing you down the street. Lives are wrecked that way.
I think it's tough when you're very young and you maybe fall for the celebrity and being the center of attention.
Here's what I had: I had the arrogance of saying I'd like to be in a 'good' movie, so in fact, when I was hot, I turned down a lot of stuff because I didn't think I wanted to watch it.
I think we live in a time where people are just insane on the subject of how they look.
Some people become artists for whatever reasons. Some of it's frivolous. And I don't think there should be any shame on that, but I think there comes a point in life where you want to offer more.
I really care about what I put out, and probably more than the fans care. At times, I think I over-care. But I just know that the body of work has such a high standard that it's kind of like, in my own head, I need to at least match it if not get over that, so that's the challenge.
I think at some point there may be artists who will get fed up, and they deliberately want to use their art as a means to rock the waves a little bit. And instead of doing the status quo, they'll deliberately go out to really make a change. I think Kendrick Lamar is an example of that.
I'm a very good listener. I think that's one of the things that makes me a good producer. But it's a challenge for me because my custom is to listen and absorb what someone is saying and take it in, and not necessarily comment.
I wouldn't call my work Modernist. I would rust if I try to think about labels. I'd feel like the Tin Man in 'The Wizard of Oz.'
I think one of the hardest things to talk about as a comic is having money because it's so unrelatable.
Whenever I feel mom-guilt, or I feel pressure to be a better mom - to cook salmon on a bed of quinoa for my kids - I just think to myself, 'I... have... suffered... enough.' And then I feel fine about feeding my toddler a bag of chips for dinner.
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