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And at least in poetry you should feel free to lie. That is, not to lie, but to imagine what you want, to follow the direction of the poem.
The hardest of all is learning to be a well of affection, and not a fountain; to show them we love them not when we feel like it, but when they do.
The contracts for 'Idol' are definitely very intimidating at first. There's lots of fine, fine details that you have to read through.
I wouldn't ever set out to hurt anyone deliberately unless it was, you know, important - like a league game or something.
It's great to have the freedom to enjoy your work and not feel like you're leaving your other life behind.
I definitely understand what it's like not having family around when you want them there, but you don't live in the same city.
You have to write a good score that you feel good about. At least, you're supposed to. But, if the director hates it, it ain't going to be in the movie!
It's definitely hard to say good-bye to a character that you've played for a long time.
It's not just that reporting gives you a bigger slice of life, gives - lends verisimilitude to what you are doing - it's that it feeds the imagination.
