My eldest daughter's been to a few sets of mine and gets spoiled when she's doing her nails, her hair. Though more often than not, you bring them to set, and they realize the filming process is pretty boring.
Alan Alda and his wife Arlene are two of the most life-affirming people I've ever met. He espoused equal rights for women while producing, writing, acting in and directing 'M*A*S*H'; he used to commute between the set and home because he didn't want to disrupt his kids' schooling.
The armoury of having any academic education does not necessarily set you up for being a good or better actor.
I've produced before, and sometimes it's by default. In the indie level, you can't just come to set and be like, 'Oh, I'm an actor.' You have to be willing to help out, make the project happen.
The thing that I learned early on is you really need to set goals in your life, both short-term and long-term, just like you do in business. Having that long-term goal will enable you to have a plan on how to achieve it.
It was so emotional to step onto the Millennium Falcon set because that was the play set we all had when we were kids. Suddenly, you were standing in the real thing. There's this rush of unreality about it.
I've learned to accept that I'm a children's writer, even if it's not what I set out to become. It's what I should have been all along, and I'll stay in this role as long as I'm a writer.
Children who reach the age of eighteen with their entire skills set composed on Nintendo and eating Doritos have been neglected. Their parents neglected to give them the character traits necessary to live successfully.
We'll set our approach to borrowing, to spending, to taxation, in a sensible way on a sensible timescale.
If you're a new artist, practice your art and share it. Set up shop somewhere, whether it's a street corner or a coffee shop. I got my start in a coffee shop that didn't even have live music. I wanted to play in coffee shops that did have live music, but I didn't have an audience.
Religions have a strong binding function and a cohesive element. They emphasize the primacy of the community as opposed to the individual, and they also help set one community apart from another that doesn't share their beliefs.
I play a character called Lieutenant Delcourt who, in the original comics, pops up from time to time to rescue Tintin. I guess if you've grown up watching movies like 'Jaws' and 'Indiana Jones,' it's pretty surreal to find yourself on set with Steven Spielberg directing you.
And so I believe that God plays this enormous role in my life. And I believe that it's my obligation to give back and to follow the rules that were set. And it also gives me an enormous sense of my own place and an enormous sense of stability.
Infinite power just isn't very interesting, no matter what game you're playing. It's much more fun when you have a limited tool set to use against the odds.
'Chewing Gum' is a sitcom set on an estate in east London. Its central character is a girl from a Pentecostal background who decides to embark on a more worldly lifestyle - it's about adolescence 10 years too late. In my dreams, everybody is watching it, finding out about my world and realising it's not what they imagined. That it's not terrifying.
Comedies don't get nominated for Oscars. It doesn't happen. So when we set out to do a movie, it's not what we're thinking about.
When you're doing a film, you're on a set and you have retakes and you have time to get it right. And on 'SNL' it's just go, go, go. If you can't read the cue cards or miss your mark, you're just left to sort of screw up. So there's a lot more pressure doing a live TV show.
What's interesting is that you can have a set that's very calm, very smooth, very cooperative... and end up with a terrible movie. And you can have a set that's really horrible as far as relationships and volatility, and come up with a great movie. Sometimes that energy gets infused into what ends up on film - it's interesting in that way.
A film set becomes its own family anyway, and all family dynamics come out during a shoot. The trick is hiring people who know how to handle that.
I never had a role that I set out for. I always wanted to have a body of work that I'm proud of. Save for two projects, which will never pass my lips, I'm happy with what I've done.
I've always said that climate change is the defining issue of our generation. I've set out to hold candidates and elected officials accountable and to push our democracy to truly represent the interests of our kids.
Every season is a new challenge to me, and I always set out to improve in terms of games, goals, assists.
Over at the Olivia Pope & Associates set, we're like middle school children. Every time there's a cut in the action, we joke and dance around; there's show tunes and fart noises.
Let me just say that to imagine racism does not exist is imagination. And to imagine that it does not create its own set of problems is true imagination. So let's not imagine that racism is gone, extinguished, because it's not. We are seeing this in the top levels of the political arena, and we are seeing it very, very plainly.
I never really had male influences in my life. Steady, male influences. And that's what I wanna be for my family. As a musician, I definitely will attain everything that I set out to. I work very hard. But more important to me is that my family is taken care of.
I like the idea of raising a kid in my trailer. My mother was an actress. I grew up in theater with her in Brazil. I would play with set dolls. And I loved it.
I've never seen an 'English' books section in, well, an English bookshop, but in Scotland, most bookshops have a set of shelves dedicated to Scottish authors.
When you're on set, you're like, 'Everyone's judging me because I'm the director, and everyone thinks I'm doing this because I just love myself and I want to do everything.' Part of it's true: I do want to do everything, and I do kind of love myself.
Embedded in 'The New York Times' institutional perspective and reporting methodologies are all sorts of quite debatable and subjective political and cultural assumptions about the world. And with some noble exceptions, 'The Times,' by design or otherwise, has long served the interests of the same set of elite and powerful factions.
When the music business failed to embrace the Internet, I thought it was game, set and match for the industry, and I quit.
I don't need to be liked, but I need to be vital - on set or on stage - and I think that probably would be my advice: Stay vital. It's about saying 'no' and asking the tough questions and believing in yourself when no one else will, but you have to know the rules to break them.
There was an incident in Argentina when I was making a film called 'The Warrior and the Sorceress.' There were, like, 40, 50 sword fighters and martial artists on the set, and one of the sword fighters challenged me. I said, 'Look, you don't want to fight me. Nobody wants to fight me. You gotta be crazy to want to fight me.'
When I was asked to write an article about what it was like to work with my husband on a TV show, I assumed it was because people thought it would be titillating. He's a creator/writer/producer, I'm an actress; there must be lots of gossip, in-fighting, maybe some crazy-sexy time on the set, right? Actually, it's pretty tame.
When you set a play in the French Quarter in New Orleans, it's hard not to acknowledge the whole African-American, French, white mixing of races. That's what the French Quarter is: it's a Creole community.
When I'm on an adult set and I'm in a scene, I am myself. I'm not acting. I am playing to the camera, definitely, but I am myself.
My son has been known to throw a book at the television set when he called for me to come play and I was obviously busy in the box. But I'm told that children of television performers grow up thinking that all mommies or daddies work on TV and that it's no big deal.
