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The most remarkable moment is when you go out on the stage and you hear the applause of the audience!
Who is happy with his appearance? I find many drawbacks of myself. But, each time when I visit Lourdes, I receive a lesson of reconciliation. When you see ill people or invalids around, you realize that it is a sin to complain!
Love in capital letters is important. It is impossible to live without love. You must have the feeling of being loved. All artists need love - from the audience, friends and relatives. But true and faithful friends are exceptionally rare.
That's the very essence of pork barrelism, when you give a huge lump sum to a person and say, 'Well, tell us what you want it for, but you are free to decide where to spend it on.'
Everything in politics is politically motivated, didn't you know?
You are damned and praised, or encouraged or discouraged by those who listen to you, and those who come to applaud you. And to me, those people are very important.
I still miss my parents every day; I adored them. And when you have no children, friends are even more important to you.
Although my parents both liked her, they just didn't approve of a same-sex relationship. Nowadays, people say that you must let children be what they are, but when I was growing up, the parents defined the child - and my parents had a definite vision of how they wanted me to be.
Nobody likes Jews. You can't say people like Jews. We're not popular. We're too smart to be liked. But it has been unacceptable to express anti-Semitism since the Holocaust.
People seem comfortable with me. And maybe that's got a lot to do with shows like Graham Norton. You just tell it like it is on those programs.
My very first show that I ever did was a show called 'Then Came You'. It became a huge hit - no, it didn't. But it was a sitcom with some great people involved, and the story was about an older woman and a younger guy. I was the older woman's best friend. I was 27 years old.
I think we've all been in relationships - whether they're romantic relationships or not - where there are things that you excuse because you want it to work, because you are hopeful, because you've invested in this relationship, and you might not otherwise let them fly, but you're being optimistic.
Any person in a relationship has to see what they gain from those things and if it's worth what you have to sacrifice to be in a relationship. I don't think that's a terrible thing.
I always respond to characters who have depth. I'm always interested in those people. They're the ones who surprise you.
If it's truly a passion, and it's truly something you believe in, then you need to do it.
I think about that with kids - you want to do everything for them, but you realize if you do everything, and you make it easy on them, they won't learn anything, and then they will walk around life needing their mamas all the time, and that isn't attractive.
I do feel like, especially nowadays, we are inundated with the message that, 'Oh my God, you aren't making your own clothes? You didn't make your own bread? And you also don't have a career, and you don't look unbelievable, and you have 5 pounds on your frame? Where is your book that you haven't published yet?'
You can't just wait for everybody to give you approval - you will just be waiting.
I live near Thompson Square Park, and there are a lot of colorful people I see in the park - a lot of different personalities and homeless people - you get to know them. And every now and then, there is suddenly someone who is no longer around, and you're just like, 'Wow,' but you never really know what happened to them.
As the director, it's just a constant stream of meetings where you meet with all of the creatives who make all of the decisions for every part of the episodes. You're also scouting for locations, deciding on the locations, meeting with your first associate director; mine was Jennifer Truelove. She's one of my favorite people on the planet.
Not every director does this, but I did: I made a list of every shot you're going to set up for every scene in the script.
The idea that you won't have a job is a real fear that people go through, so when people talk about jobs and say, 'I'm gonna create jobs!' or, 'There's gonna be a loss of jobs,' those are just words. But the reality of someone actually losing their job - I mean, it's their entire life for most people in this country.
I am always living in the now, so I like what fate brings to you. That's always fun for me. To have a process and someone be like, 'How about this?' And you just grab onto that and see where it takes you.
It's hard to kind of marry your personal life with the theater. It always works so well for my life, and then I had kids, and the thought of missing putting them to bed is a tough one for me. You know, I'm there a lot for them.
At any age, you are growing up at some level, but as far as maturing and growing up, a lot of that happens in your 20s: a lot of mistakes still to make and insecurities. But at around 27, I started to come into my own as a real adult.
I did ride a bike on the streets of Manhattan with four-and-a-half inch heels. Is that fun... or a death wish? You tell me. I was in severe pain, and everyone was laughing at me. That was great. I like when people laugh at me when I'm in pain.
The writing life is one long, never-ending search for narrative. Well, it's not even a conscious searching. It happens even while you're busy buying groceries and when you're fast asleep. It's a curse.
A writer is always, always searching, even against her will, against all her better instincts, for the thread of a story. Everything is fodder. Everything is fuel. You can feel it coming on like the tingling of a sore throat. The brain never stops struggling to reshape every experience and feeling into a coherent narrative.
My father died beside trees on iron rails... He had 77 dollars on him at the time, and we used the money for Thai takeout because, as my friend Julie says about times like this, 'You still have to eat.'
There are so many things in my life that would be completely not on within the conservative church. And yet I think of myself as a reasonably decent human being. With all sorts of flaws, you know, but still reasonably decent. If I did believe in Heaven and Hell, I would really, honestly, believe I was going to go to Heaven.
The British are actually a lot more appreciative of the comic. In Canada, if you're perceived as a comic writer, there's a real snobbery, and you can't be serious. You're not a big hitter.
You don't need a religious background to strive for something good, for genuine compassion and love for others.
A depressed person is often a person who will push others away. If you are pushed away and pushed away and pushed away, you have to have an enormous amount of inner resources to keep going back.
When everything does seem out of control, writing fiction is a way I can order that chaos and restore some sort of meaning. I like the playful aspect of writing fiction. You know how it is when we are kids and we make up our worlds: You be this guy, and I am going to be this guy, and we are going to go slay dragons.
Scoring and fishing are comparable. In both cases, you must have patience and wait for the right moment to strike power with the utmost coolness.
I spent five years in Italy, and the Italians have a slightly different lifestyle. Everything is a bit slower and more easygoing. You can feel that when you live there; you become a little more relaxed about typically 'German' things like accuracy and punctuality.
I don't personally think of myself as an icon, but it's definitely an incredible thing. Scoring 16 goals at the World Cup is something you only usually dream about.
So I am one of those bass players who can do something and musically, it was back then and now it is even more, if you noticed on the new album, I am not playing all the time anymore.
That was really so upsetting when you are trying to pass on some very serious knowledge and be basically, treated worse than a student coming off the street because his father pays the tuition. Come on. Give me a break. This is no school. This is a joke.
The main thing that those two albums have in common aside from my music, which of course, a sense of it, you can recognize, it is that the bass on Infinite Search was playing much, much less like a bass.
When my sitcom 'Miranda' first became successful, I was so in the thick of working and I was so stressed that I didn't really enjoy the moment. You suddenly look back and go, 'Gosh, you've just got to enjoy every day.' And now I wake up and literally pinch myself every day.
I think there are different kinds of comedians, and I prefer the clowns who are going: 'I'm an idiot, aren't we all a bit like this, laugh at me.' Whereas, a lot of other comedians are saying: 'Aren't I clever? You want to be me, aren't I cool? Revere me.' Which is fine. But that's not my bag.
I think, for a shy person - and I was very shy until my mid-20s - having been to an all-girls' school is not brilliant on the boyfriend front later. Because when I went to university, it was definitely like meeting a new species of people. Suddenly, at age 19, I was thinking: 'Can you speak to these people?' I was very, very nervous.
An erratum is a correction inserted into a book after publication. It's a nice thing to collect because you can't go after them, you just come upon them. In 25 years I've only found about 12.
I didn't have any vices before the Internet. There are a lot of cracks in the day, moments where you don't know what to do next, so you have a little hole where you look at your phone. You want something that will mean you're not alone in that moment.
I've been using the same 'I Ching' since I was teenager when it was given to me by a fellow teenager; it seems too late to change now. I don't use it often, but when I do, it really does help. You can fool yourself, but not the 'I Ching.'
Long before I started to write in earnest, Lorrie Moore taught me you could have a woman narrator who was funny and complex and even wrongheaded. She opened up a lot of space that me and a million other women rushed into.
I think this is how life is. It's not a linear march through time; you revolve around the same old things as you age and acquire experiences.
It's amazing how little you can see people but still stay in regular contact.
I have a big brother who would make dolls' houses and playhouses and furniture out of wood. He was the one who taught me from such a young age that you could just make something. The physical act of gluing something together was really formative for me.
My mom was always saying: 'Be whatever you want to be, but stick with it. Don't waver. Don't change who you are for anybody.'
I've been on big tours ever since I started, but you can't just go out there and headline, you have to do it right.
I like to write with people I have a relationship with; otherwise it's kind of scary, and you hold back because you don't want to pour your guts out to someone you never met.
In piano, if you try to force hitting this key and that key, it's very broken. It's not pretty. When you're in archery, you can't try to force it step-by-step-by-step. Then the shot doesn't flow and it's not a good shot. If you just let the performance flow, it's really beautiful.
My dad, we'll be talking about goals for the next year. He's like, 'I think you can be here,' and I look at him like he's cross-eyed, like, 'Are you serious? That's so far out of my reach.' Well, then I always end up achieving it.
I think you go through a period as a teenager of being quite cool and unaffected by things.
It is hard sometimes to see how other actors are working when you are working with them.
If there is a book that the script came from you have to read it, you have to see what you can get out of it: mood, back story and things that may not even be in the film. They kick off your imagination and broaden the character, I think.
Everyone says you should get a photo taken of yourself while you're pregnant. I've got a film. It'll be nice for my daughter, too, to look at one day. She was in it.
I really love yoga. I love the mindfulness of it, where not only are you exercising your body, but you're also building that mind/body connection as far as being aware of every movement - what your body's doing, how your body's feeling.
In these interviews, they've been asking me for a while, 'If you could do a scene with anybody that you haven't done a scene with yet, who would it be?' It would be Christian Stolte. He's the most incredible actor. He is always the smartest person in the room.
Working with real firefighters keeps us really grounded. How can you possibly complain that your trailer is not at the correct temperature when you are working with a man who ran out of a burning building to save someone's life?
I feel really grateful to be a part of a cast that is dedicated week in and week out to doing good work, and you don't always come across that, but everybody on the call sheet is committed to doing good work, and a big part of that is having these firefighters on set and using our resources.
Filming 'Doctor Who' is so incredibly different to 'Spooks.' Near to the surface, there's quite a silly atmosphere. A lot of the times, you're on the verge of giggles because it's so over the top.
I was genuinely frightened when I saw the Daleks. These ridiculous-looking things absolutely get to the core of you when you're standing in front of one.
You can have a laugh in Los Angeles, or you can weep in Los Angeles, depending on your attitude towards it.
When I did that '3 Days of Normal' one, we had no budget, and we were all staying in a house in New Hampshire. There's no trailers, and it's just a family environment. There's not much of a crew; you just do what you need to do.
Crime shows are really popular, in general, but usually, at the end of every episode, you have to let go of the people that you've invested in and then, the next week, get somebody else.
When actors are the real deal, all that star whatever goes right out the window and you're there to tell a story.
People say to me, 'Oh, being a mother must make you a better actor,' and I think, 'Well, I never sleep, I have very little time to think about anything except when I'm actually there.' I wonder whether that makes me a better actor. I think it must on some level.
No matter what you're doing, live it. Make an experience. Have fun. Relate to someone. Take them in. Learn.
I learned how to horseback ride in English style, which is very hard, by the way. I had no idea how challenging it was. I've always ridden horses, but Western is like riding a horse in a rocking chair, as opposed to English, where you have to balance and hold on with your legs.
People go 'You look a lot like Minnie Driver.' Once I said, 'Thanks, Minnie is a great actress.' But, it blew up in my face. This person said, 'Nah, didn't like the last movie she did.'
Celebrity is a weird appendage, which is useless unless you do something with it.
But I love filmmaking - I'm not ashamed of that. You're sort of vilified if you say that in England.
You can never be guaranteed good roles because of an award, but I think your profile and net worth as a performer has to do with awards, unfortunately.
In some movies you feel like you're a very small part of a huge machine. Whereas in the theater you can have a very small part, but you can still feel the weight and the gravity of it. Given the nature of theater, it's a more concentrated and quiet experience.
I don't know how you would live in the world of Angelina Jolie or Jennifer Aniston and being stalked. It's just brutal.
As an English actress constantly playing Americans, you already had to step way out of your box in that way.
Kissing a man with a beard is a lot like going to a picnic. You don't mind going through a little bush to get there!
If you look at the buildings, you'll find that one part looks as if it was designed by one man, and you go around and look at another facade and it looks as if it was designed by another man, you see.
I feel this is very important for us to have serene buildings because our civilization is chaotic as it is, you see; our whole machine age has brought about a chaos that has to be somehow counterbalanced, I think.
If you examine this, I think that you will find that it's the mechanics of Japanese architecture that have been thought of as the direct influence upon our architecture.
If you have white walls, human beings look better in a room than if you have red walls.
They say now in America that final cut doesn't mean anything. As Harvey Weinstein said to some film-maker, 'You can have final cut. I'll open your film in Arkansas.'
Never treat anything you do as a stepping stone. Do it fully, and follow it completely.
You know, the sad thing of post-9/11, which was of course horrific, was that the city in which I felt completely at home for two decades, suddenly people like us - brown people - were looked at as the 'Others.'
Americans are not used to being bombed in their beds, but if you come from anywhere outside America, it's not highly unusual.
It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.
Christmas lights may be the loneliest thing for me, especially if you mix them up with reindeers and sleighs. I feel alone. I feel isolated. I feel I do not belong.
I think there's a level of ignorance, when, in the callowness of youth, you imagine that you are inventing the world for the first time. You imagine that your parents don't know what it feels like to fall in love.
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