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'True Blood' allows you to be big, so it's almost like you're on stage, and I'm comfortable with that.
I think that as a young lady, you start off not knowing what you want to do, and then you kinda arrive at yourself by the time you're 17 or 18, hopefully. And that's what I did.
Your nerves can get the better of you, especially when it's your first film.
If you look at my career, I've never gone to a team that had fulfilled their potential.
If there is a problem, and you don't say anything about it, it's like a cancer and it becomes bigger.
Being a football manager is no fun at all. You have to put up with all the hassle. It is not surprising that so many turn grey or have heart attacks.
I know what it's like to win things. You need a certain type of player with a determination to win. You see it in the eyes.
In L.A., nobody is talking about football. No television stations. You see it nowhere.
You know, if you play on home soil sometimes funny things can happen and you have that push of the crowd.
People say it is part of the game. You win some, you lose some. But not for me.
In Spain and Italy I would not have a life among the fans. Everyone wants to touch you, own you and approach you. I try to be as kind as possible to all my fans, but in those countries I could not do it. There they ask too much from you.
If you start to find that kind of luxury as a normal thing, you don't belong in the real world.
Whenever I was planning a trip or a holiday, flights and hotels were easy. But when it comes to the stuff you want to do when you get there, working that out was really hard.
I kept being told, 'If you really want to build a start up, you have to be in San Francisco,' so I ended up taking out a suitcase. It did occur to me to do it in London but it's very, very difficult to build a start up in London - so I guess I was being lazy.
You can be this super-successful woman who's smart and effective but still feminine. When I worked in finance, I didn't always think that was possible.
What you do on travel holiday is what your memories are based on. People want to do cool stuff, and this is what will shape your entire experience.
If every song is in the past tense, that's a drag, so you have to predict the future.
People have all sorts of expectations which you can't meet. Me, I'm so reclusive I stay away from such things as much as I can. I never go anywhere.
I'm used to music as a tool, taking the various elements and then making something completely new out of them. And writing film music is the perfect opportunity to do that, because you can look at the film and then just let your imagination soar.
I like the idea that something happens to everybody who comes to L.A. - whether they are Mexican, Irish, black, or hillbillies. You come here, and you leave all your traditions behind. And since there's no traditions here, you just make one up.
I've done a fair amount of commercials. I did a bunch of Champion spark plug ads and Levi's and Molson Beer. You wouldn't know it. But some of it's damn good.
People who aren't as interested in recorded music as they used to be will say, 'Oh, 'Buena Vista?' Loved it.' And I'll say, 'Well, how about any of my other recent records. I've been doing some pretty good ones. You like those?' And they go, 'Huh?'
R&B and all that stuff was always very spare and spontaneous. Nobody made those records under solid gold situations. It was just in and out, and you didn't labor over the thing. I like music like that.
There is this strange fog of being a young man that I would refer to as soft time. Time does not go forward there. It's a series of doors that kind of wind back into one another, like a series of doors in the upper floor of a house. You revisit the same lessons over and over again, or you choose to ignore them.
Collaboration has become really integral to my process. I play music so that I can spend time with my friends and communicate in that way. I experience so much joy in that process, because, you know, it's those times of getting together and playing music and all that comes with it that are the best for me.
You could eat sushi off my bookshelf. My cleaning regime is like a battleground. I'm Genghis Khan and my cleaning products are my Mongolian army and I take no prisoners. The rest of my life is an experiment in chaos so I like to keep my flat neat.
When you can win with a couple of goals, it is always really good for confidence.
I enjoyed my time in Germany, I definitely rate the league as it develops well and you have quite a lot of teams that play good football.
I still believe I can be a striker but, if you want to be a striker, you have to think more about yourself and that's why you are a striker.
For a player to really be at his best you have to give him a certain confidence, but I did not feel appreciated by some people at Liverpool.
There are plenty of players who have a lot of talent. It's all about getting the best out of yourself and you'll have to work very hard to achieve that.
If you misuse the things you have been given, God has the ability to take your talent away. That's the way it is for me and that is why a lot of religious people are grateful to their God.
If you don't believe you will end up as nothing. But if you believe a lot you can create a lot.
When you work with directors who really love actors, who love their contribution, it feels amazing. But sometimes when you work with directors, you feel like you're in the way.
You don't come to see a Greek play and not want blood and gore and depth of feeling from your boots up.
If people want to invade your privacy, they want to invade your privacy. I find it chilling, and I find it awful, and it makes me really nervous. It hasn't happened to me much, but when you have a taste of it, it's bitter.
I am not hugely famous; I am not a name. For me, it's not the size of the role, it's the material and the people you are working with.
I didn't become an actor to make money. And I didn't become an actor to be famous - though people always gasp if you say that, as if it's unfathomable that an actor doesn't want to be a star.
What's really important is the people, first of all. I like working with people who are kind, above all else. I don't really want to work with someone who will manipulate me. The idea that you must treat actors a certain way in order to get a performance out of them kind of disturbs me, and it's disregarding what we do. Our job is to do our job.
When you label someone 'up and coming' or 'the new breakout,' there's this kind of expectation. And I think, like I said before, it's very hard to live up to that expectation when you really don't have that much power as an actor - in terms of your career path and the timing.
For a writer, you definitely do not want to be in the mainstream. You want to be on the edge because that's where the vantage point is. That's where you can see.
There's something about the idea of writing, and thinking about writing as a form of prayer - the way as a writer you call out into the world and throw your words into the world. You're not praying to a god, but you're almost conjuring a reader to arrive. That's what books do: they're an invitation to readers.
Writing is solitary. You spend so much time alone and in your own mind, telling stories.
I would do any honest thing under the sun to know C. S. Lewis, and so am very grateful to you.
One of the biggest problems women have is they work really hard and put their heads down and assume hard work gets noticed. And hard work for the wrong boss does not get noticed. Hard work for the wrong boss results in one thing - that boss looks terrific, and you get stuck.
I have seen too many people in my career think that there is some natural progression to life, with certain career milestones preceding whatever you may want in your personal life. Unfortunately, life doesn't know it is supposed to follow a schedule.
I have not been a believer of point guidance. It really limits your flexibility to do what you want. It leads to behavior that is not supportive of long-term shareholder value.
Businesses perform better when you have diversity of view in your senior leadership positions. This is not just the right thing to do socially; it's the right thing to do for your business.
Incrementalism in technology leads to irrelevance; what you need is revolutionary change.
If you don't have ample liquidity, and it's not durable, in times of stress, as you're looking for liquidity, you're forced to sell assets at declining prices, which then eats into your capital position, so it becomes this very, very negative cycle. There's no question that liquidity is sacrosanct.
If you're just focused on work, my view is that you'll never get enough back from any organization, no matter how fantastic the role is, and you have to have a full life so that you really get enriched in a lot of different ways, and that can be family and kids. It can be, for others, sports.
Once a refugee, always a refugee. I can't ever remember not being all right wherever I was, but you don't give your whole allegiance to a place or want to be entirely identified with the society you're living in.
I stand before you as a writer without any ground of being out of which to write: really blown about from country to country, culture to culture till I feel - till I am - nothing. As it happens, I like it that way.
I only really woke up in India. It was my first experience of plenty, strangely enough, because everything in England was rationed. I loved sweets, but you couldn't get them; then there was this marvelous mitthai - I went crazy.
All my early books are written as if I were Indian. In England, I had started writing as if I were English; now I write as if I were American. You take other people's backgrounds and characters; Keats called it negative capability.
Film is not like a book; it's not a writer's baby at all. So many people have put in their talent, by that time that you feel grateful for what they've done, you don't feel possessive about it in any way.
First, I was so dazzled and besotted by India. People said the poverty was biblical, and I'm afraid that was my attitude, too. It's terribly easy to get used to someone else's poverty if you're living a middle-class life in it. But after a while, I saw it wasn't possible to accept it, and I also didn't want to.
You don't want to give people what they want. Give them something that they didn't know that they wanted.
I've been to a couple of restaurants in L.A. that were so loud, I left there with a sore throat; you literally could not have a conversation. I think it's very deliberate: There's this idea that somehow it's more fun if there's a roar in the room.
There is that romanticized idea of what a bookstore can be, what a library can be, what a shop can be. And to me, they are that. These are places that open doors into other worlds if only you're open to them.
One of the things I really love about restaurants is that in many ways, they are the ultimate democratic institutions, where you get to walk in the door, plunk down your money, and for however long that you're there, you can be anyone you want to be.
I think it's hard, when you're someone who likes to please people, as I am, to be a boss. I had to learn how to rein myself in and not terrify people.
The hardest part of cooking is shopping, and if you organize yourself and shop once a week, you're halfway there.
What I learned is that how we present ourselves to the world is really how we get treated. So if you want to be treated really well in a restaurant, you really have to dress up. You cannot just show up.
I don't think there's one thing more important you can do for your kids than have family dinner.
The first time you make something, follow the recipe, then figure out how to tailor it to your own tastes.
People are so used to eating terrible pancakes, no matter how you mess up, they're going to be great. And if you make fresh orange juice, they'll be over the moon.
When you're a restaurant critic, you're not home at night, so breakfast became really important for us.
I think that reading is always active. As a writer, you can only go so far; the reader meets you halfway, bringing his or her own experience to bear on everything you've written. What I mean is that it is not only the writer's memory that filters experience, but the reader's as well.
American food is the food of immigrants. You go back a couple of hundred years, and we were all immigrants, unless we're going to talk about Native American cuisine.
The most important thing as a conductor is that you have to want it. People will give you a million reasons why you shouldn't.
While most of the things you've worried about have never happened, it's a different story with the things you haven't worried about. They are the ones that happen.
I've had two proposals since I've been a widow. I am a wonderful catch, you know. I have a lot of money.
You and I are but specks of that rhythmic urge which is Brahma, which is Allah, which is God.
The only advice I can give to aspiring writers is to write the book that you would want to read, and hope other people agree.
I write as if I'm someone reading the book - often people ask if I write one strand first and then go back and seed in the other, but I don't think I could keep track of who knows what, and the tension would come out wrong, so the answer is no - I write it more or less in the order you read it.
Some writers you return to again and again, and for me, Nancy Mitford is one of them.
I learned early on that if I was to get attention, I would have to be charming. Even the models I've photographed are often like that. Some of them are not beautiful. But, if you catch them in the right light, they glow.
I wouldn't do really gratuitous nudity. When I was in my late teens, you'd read stuff and be like, 'That character serves no purpose except being naked', so that would not be something I'd want to do. It's pointless for me.
If you think about it, there's very little about young families on TV, and yet there's so many of them.
On the Tube, you never see anyone looking you in your eye. They're all looking down at their screen.
If you're aware of a pattern, you can do something about it, and you can be aware of your own culpability. I like to think I can do that, but, like everyone else, I'm a work in progress.
A friend of mine told me she's going to freeze her eggs, and I thought, 'Well, I also don't want to be a 55-year-old first time mother,' so you kind of just have to go with what happens.
Very often, as an actress, there's some kind of stereotype, but with any good script, you should be able to swap the genders of all the characters, and it shouldn't make a huge difference.
I think when you work with older actors, who are so good, it's rare that they are egotistical.
If you are speaking about my own songs, I would think so because we were talking about that particular era and I was singing one of my songs that I recorded 50 years ago.
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