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When you're fighting for an increasingly smaller portion of the pie, you turn against each other; you create reasons to hate each other.
The essence of creativity is to look beyond where you can actually see. I don't want to dwell in same place too long.
Saying, 'I'm going to create jobs' is great, but before you create jobs, something has to be offered to alleviate some of the suffering now.
There were times after my marriage ended where, you know, I really felt like I was at the bottom of a mountain, there was a great big, fog up there, and I'm never going to cross to the other side.
So I - the thought that I would physically be different was - it's not a thrill, I have to tell you. It's kind of - it brings you up short. But I was able to look at it right away.
It eats you up. It eats you up. And you have to - I had a lot of help. I had a lot of therapy. And I was able to - because it was hard, you know, to - you can't just lay it on friends and children.
I don't want to have to say, Honey, you know, could you turn off the sports channel because I'm not a big sports fan, and I don't love the television being on just for the sake of turning on. I'd like turning on for some thing specific.
I don't want marriage. You know why? Because I did that. I did it for 32 years.
But I don't want anybody to say have the right to say well if you bloody Brits don't like it go home. And they have the right to say that if you haven't become a citizen.
And yet, I suppose you mourn the loss or the death of what you thought your life was, even if you find your life is better after. You mourn the future that you thought you'd planned.
And I also am very nervous about implants. You know, I'm just nervous about all that. So I could still do it. I could think about it. But I needed to adapt to myself.
I think if you are a black person or an Hispanic person, you are not as fond of Rudolph Giuliani as you are if you happen to be a white person. Because he has trampled on people's civil rights.
To tell you the truth, I don't like talking too much once I leave this booth. I'm talked out.
So many people have said this, but it's true: 95 percent of what I do as a director is casting and getting people who can bear the load of what you're asking them to do and creating this emotionally safe environment.
When I started working in film, I loved photography, I loved the image, I loved telling the story within a frame, but as I started playing around with film and video, it was like, 'Oh my god.' You just have so much more to play with.
Truth be told, I hear stories every day that would make you say, 'If you put that in a movie, you wouldn't believe it.' Real life really is kinda incredible; the stories from people's actual lives defy credibility. People's lives are messy, humans are messy, and they're flawed.
I can't wait to do a fully improvised script again, to find people who are really comfortable and into it. It's about the capabilities of the people you're working with, what are their strengths and weaknesses. Some of the most brilliant actors need the spine of the text to work off of, and there's no shame in that; they're actors, not writers.
You wake up one day and you realize that all these years have gone by and I have this mortgage and I have this couch and I have this life and... is this going to be my prison?
Flaws make us all human, and you're rooting for characters because of those flaws. It's ageless if you're interested in relationships and the way people can or can't relate to each other.
All we really want in life is to connect to other human beings, and when you desperately want to connect physically to one specific human being and you can't? That's something I find compelling.
My mom was in education, and I remember reading in one of her books about multiple intelligences - this whole theory about how there are all these different ways you can be intelligent, like eight or 10 of them or something. And one of them is emotional.
A spiritual relationship to me is much more about making your own connection to the divinity that you believe in and much less about the person - the shepherd - who's overseeing it all.
I think that huge Christian institutions deal a lot with corruption. You see it happen with so many institutions. We've seen the questions with Catholicism, we've seen the questions with some other mega churches that really do exist.
The life of an artist is always reproving what you can do, and I feel like there is still so much more to do. Because I still enjoy it, and I'm not one of those actors who feels like, 'Oh, I've arrived and you should worship at my altar,' kind of thing.
Many of the people I know and that you know are very complex human beings, and it's not all about race. Everything isn't a question of race. Everything isn't a question of economics at the very base level.
I think water seeks its own level, that we go through challenges to become better. And now more than ever, it's good to look at who you're following in any type of hierarchy or institution - be it a church or the government. We can see how easy it is for people to lose their footing when they have great power.
I never studied interior design, but I'm a creative person. And what we surround ourselves with is very important - what makes you feel happy, what makes your senses feel good.
Josephine Baker is such an iconic woman that once you've touched her and she has touched you, it never goes away. I'm stuck with her. I'm sure 50 years from now, when they write my obituary, they will mention that I played Josephine Baker. It'll be on my epitaph.
When men age, their love interests get younger. It doesn't stop them from doing different genres of stuff. As women age in film, you know, they go from the woman in charge to the mother, the grandmother... off a cliff somewhere.
If you truly want to innovate, there will be some failures, and this can be difficult for some organizations - especially public companies managing quarterly earnings.
I find writing for children much easier. I don't mean it's less demanding - you've got to have a talent for it and you've got to work very hard - but you don't have to pull your guts out and lay them on the line in quite the same way as when you're writing for adults.
My favorite thing in the world is a quiz show, 'University Challenge,' so you can see what kind of sad person I am.
Do you lend books and DVDs to people? If so, don't you always regret it? All my life I have forced books on to people who have subsequently forgotten all about it. Meanwhile, on my shelves sit many orphaned books loaned to me over the years by trusting, innocent souls - some as long ago as the Seventies.
Comic-Con is overwhelming when you have such a long day of press schedules.
The best relationships are when you both want to make each other happy - you buy the groceries, I do the dishes.
When a man leaves you notes saying he loves you, or asks how your day was - and then listens - you feel special.
I think it's very rare that you see girl friendships on television. It's always cattiness and all that drama.
If you write, one of the questions you're always trying to answer is, Where do you get your ideas? And, if you write, you know how pointless a question this is and how difficult it is to answer.
Once you've invested hundreds of hours in creating a coherent universe, your story's grown to around a half-million words and can't be written as anything less than a trilogy.
Now, as a writer, the whole world is your nail polish display, and what's more, you can help yourself. A thrilling, colourful array of gorgeous human peculiarity revolves before your eyes, and you still can't quite believe it's all yours for the taking.
That's what fascinates me about these writers' retreats: You're in these small spaces with small groups of people, and all of the sudden, the spotlight is shining on you harder than it normally is.
Something I've always written about is social expectations: that the eyes of the community are on you all the time, expecting you to line up with certain social norms, certain behaviours. Whenever you forgot about them, they'd be strongly reiterated to you, in no uncertain terms.
When you're not sure your anger is justified, the thing to do is ask yourself exactly where it's coming from.
It's a moral absolute: If you are going to make a human being, you have a fundamental responsibility to that person - to honestly disclose exactly who they are and where they come from.
You can't hint a man into bestowing the ideal gift that displays all the love, appreciation and understanding you feel is lacking the rest of year.
You learn to act by acting. You only get so much from acting class. You have to put your act on stage.
You can have a five-page speech, and if the camera's not looking at you, you're not there.
Every role that you accept makes you grow in some way. It's part of the creative process.
I feel like part of your job as an actor is you're going to get noticed, and the more successful you get, the more noticed you are. It's kind of like a Catch-22.
If you have a coach helping you, developing your skills alongside you, that's when you're on your way to becoming not just a participant but achieving.
You've got to be a disciplined person if you want to succeed both in sport and in life.
It's not just about a coach telling you what to do and just following it unthinkingly.
You've got to be actively involved in the process yourself and you've got to listen carefully to what the coach is saying, take that on board yourself and implement what the coach is saying.
It's about somebody initially knowing more about it than you do but eventually you learn a lot about it yourself and practise the skills and techniques that you've been taught.
To win an Olympic title when there are 205 nations taking part, you have to be super-human. You have to be superman.
I think a four-year ban would effectively rule out one Olympic games - a life ban is too harsh. I think everyone deserves a second chance. If you come back from missing one Olympic games and serving a four-year ban, you are a pretty determined and reformed character.
Long jumping sounds simple - you run fast and jump well. But it is about getting all the technical bits right.
Setting is the bedrock of your story. If you choose a real-world backdrop, be certain you get your facts straight.
If you set your story in Rome, Ireland or Sheboygan, for that matter, go there. If you're broke, set it in the town where you live, or where you grew up.
On two occasions, utility executives I'd never met had looked at me and said, 'I thought you'd be bigger!' In a way, I took that as a compliment!
If I were to share with you the number of attacks that come into the Duke network every day, you would be astounded. And it's not from people working out of their garage; it's from nation-states that are trying to penetrate systems.
I get energized around a plan - what's it going to be like in three months? Six months? You're not going to let it defeat you. You got to keep going.
You're well-spoken, or you're very analytical, or you're a great team-builder, or you're great with relationships... Playing to your strengths is always something good to build on because you're trying to develop a foundation to keep growing, as a professional and as a leader.
If you feel like there is going to be an emotional reaction that won't be helpful to resolve the situation, anger or other things, disarm the situation in some way, and you can use different techniques to do that.
I think about trust and confidence as something that you earn every day, and we will keep at it, earning it every day.
At a certain career level, it's no longer about whether you are the smartest subject-matter expert in the room.
As you think about developing people through their careers, you're looking for that transition from being the smartest person in the room - and caring so much about that - to being the most effective.
Effectiveness comes from those qualitative things that give you the ability to network, communicate, and lead people toward an outcome they can't see.
I actually had someone say to me, 'Lynn, you're going to have very good days, and you're going to have very bad days. But It's rare that things are as good as they look, and it's rare that things are as bad as they seem.' So having perspective, and challenging perspective, is important to making good decisions.
You think about child abuse and you think of a father viciously attacking a daughter or a son, but in my family it was my mother. My mother, I would say, was a... very brutal disciplinarian.
No matter how old you are, there's always something good to look forward to.
In a way, a certain amount of self-criticism is a good thing, because it keeps you humble. Realizing that no matter what success you've achieved, you can still make enemies makes you humble, too.
I've had some tremendous adventures, good and bad. It's part of the novel, and a novel isn't interesting if it doesn't have some good and bad. And you don't know what good is if bad hasn't been a part of your life.
I've always felt that life is a novel, and part of it is written for you, and part of it is written by you. It's up to you to write the ending, ultimately.
I often think you bring unhappiness on yourself, because if you don't like yourself very much, you allow yourself to be influenced by people who reinforce that.
Complaining is good for you as long as you're not complaining to the person you're complaining about.
It's the ultimate task to do something stripped back, so you're not hiding behind anything.
I think pop culture underestimates people. The message is, 'Being yourself is the worst thing you could possibly be.' But people are still attracted to it.
People comment on how you look; it's so unnecessary. I just wanted people to listen to what I have to say instead of focusing on anything else.
I don't think Neil Young has a beautiful voice, but it's something that grabs you, and the songs are so good.
The first thing you do when you get off tour is let off some steam and, you know, have some type of big breakdown.
Touring is really about being on edge the whole time - you're like a racing horse: you've just got to be on. You've got to pull it together.
It's in every person's life, around 27 to 29 years old, the stars and the planets align themselves to exactly the way they were when you were born. You're faced with yourself. There's no running away.
I think everything in life comes in threes: heartbreak and all that. You've got to do the full round in order to learn.
I always feel like I've been slightly misunderstood. As a woman, you get judged for appearances or things like that I don't really care about.
If you take the hard facts of a failed relationship, it's pretty grim. But if you make an album out of it, and if the violins represent all the tears, you create something magical out of something very normal.
As for Philadelphia, you know what it is like? Sink holes. You stand in the earth and it opens up and you're sucked down. I'm never going to escape Philadelphia.
Somehow you can tell the difference when a song is written just to get on the radio and when what someone does is their whole life. That comes through in Bob Dylan, Paul Simon, Willie Nelson. There is no separating their life from their music.
It's really a lot easier to write about things that are problematic. Who wants to hear how happy you are?
It's important to be successful enough to be able to keep doing what you love.
It's difficult to get started-when it comes to dealing with an unknown quantity, people are reluctant to trust their own opinion. It helps if two or three people give you a boost.
You can't second-guess your audience. You can only do what you think is right. If you do that, your audience will appreciate you.
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