When I was an undergrad at Stanford, there was a girl named Jennie Kim who worked for the school newspaper. Sometimes people would come up to me and talk to me about articles she had written. 'That one on getting a Brazilian was hilarious', some guy said, high-fiving me.
I come from a very humble background. My father had to work really hard to become an assistant director. For a large part of his youth, he worked in a mill and took up odd jobs to make ends meet. We lived in a small room and could only afford a meal a day.
I've always worked hard to create my own style. Nobody sounds like me. I've heard them call me 'legendary.' That feels pretty good... though the word is overused these days.
I actually come from comics, and I'm big on comics. I was reading 'Walking Dead' from the beginning. Then just being on the show, I was really lucky to work on episodes like 'Pretty Much Dead Already' and 'Clear.' I worked a lot on episodes that I didn't write.
When I first started, it was so male-heavy, so male-dominated, that on the 18th floor of the criminal courts building, which was where I worked, there were three men's bathrooms and only one women's bathroom.
Their crew for 'Arrow' is just one of the most wonderful crews that I've worked with. I know that actors say that all the time, and it sounds like trash coming out of my own mouth, but it's so true.
While in my late teens and in my 20s, I worked seven days a week, 20 hours a day. I worked my tail off.
I always say that in my career as an actress, I've always worked with people like David Lynch or Guy Maddin or Peter Weir who are considered not mainstream directors and that could be because they are like my dad. They are pioneers, and pioneers, by definition, invent something new.
I worked from 10 p.m. until 1 a.m. every night for a year to write the first 'Chicken Soup for the Soul' book.
I worked at a place that followed a system where the quarterback was taught to take the sack rather than force the throw. That's kind of an old-school theory, but it has existed in this game.
I've worked with some actors who have such thick skins and think they are so extraordinary. I'll think, 'Have you stopped learning?' They stop listening to directors or other actors and do the same thing again and again.
There's always something happening in pretty much every moment of every scene of everything I've ever worked on in longform that's not being expressed or acknowledged.
I've always been a fan of the VMAs, and I've always worked hard just to get a ticket to go to the VMAs.
I never, with my eyes, saw the mistreatment of any black person. Not once. Where we lived was all farmers. The blacks worked for the farmers. I hoed cotton with them. I'm with the blacks, because we're white trash.
Look, in 1800 the sainted Thomas Jefferson arranged to hire a notorious slanderer named James Callender, who worked as a writer at a Republican newspaper in Richmond, Va. Read some of what he wrote about John Adams. This was a personal slander.
I worked in a boutique after work, my second job, selling women's clothes. And that was a way of not just making money but meeting women. That was very exciting job. I loved that job.
I've always considered myself a physical person. I don't call myself a farm girl, but I did spend a lot of years shoveling manure and throwing hay, because I worked to pay most of my riding expenses.
For many years, when people described how the Internet worked - whether they were talking about shopping, communicating, or starting a business there - they inevitably invoked a single metaphor. The Internet, said just about everybody, was a contemporary incarnation of the wild, wild West.
I'm confident in my team. I'm confident in my coaches. I'm confident in my ability. I worked really hard to become a better mixed martial artist.
I thought I was going to be a theater actor. I moved to New York after college and did some plays and worked a lot. Once the realities of living as a theatrical actor hit me, I realized I wanted to start making a little bit of money and not have to bartend and work in theater.
People in Tel Aviv can not imagine, but in 1990, here in Leipzig or Dresden, whoever wanted to buy a car had to wait 14 years. The East Germans worked like people in the West, but the fruits of their labor were harvested by a criminal regime.
I loved watching so many of the great designers I've worked with do what they do. That's why I'm still loyal to the designers that I've known since I was 16.
'Clash Of The Titans' is one of the biggest movies I've done; it was certainly the most effects I've worked with.
It's always nice working with friends. And if you have a director that you've worked with before, you don't have to go through that first learning thing. There's an element of trust there.
Ultimately, I made my range wider because I wanted to suit each publication that I worked for. Talk about reinvention - I'm like the Madonna of photography.
Ignorance breeds antipathy. Until I got to know how computers worked, I didn't want anything to do with them. I said, 'Well, why do I need them? I write letters.' Which I still do.
Mum worked as a secretary for Orson Welles for what sounded like a very miserable year. Her brother was the actor Jeremy Brett, who became famous for playing Sherlock Holmes. He was an absolutely lovely man. Very exciting and glamorous, he'd always make me feel amazing and full of confidence, like I'd picked the right thing to do in life.
I've worked with kids that are just horrendous, and it's mostly because of their parents.
'Fences' is under the headline of the project of my lifetime. It is the most perfect and undeniably developed narrative that I've ever worked on.
My father worked every day; my brother and sister had to travel many hours to study, so Atletico were for people like us.
My dad has worked so hard his whole life. He doesn't deserve to see his daughters going out embarrassing themselves and flashing their knickers. I want to make my parents proud.
If you've worked in a factory, and you haven't learned how to do something else, you're obsolete. That's just nature.
But I loved doing the physical stuff for 'Dredd.' I have to give a shout-out to the stunt team that I worked with.
My dad was a baggage handler at Heathrow and careful with money. He worked hard and had three jobs when I was young. I wish I'd inherited his care for money. Sadly, I've grown up to be rather scatty when it comes to finances.
I joined the staff of EMI in Middlesex in 1951, where I worked for a while on radar and guided weapons and later ran a small design laboratory. During this time, I became particularly interested in computers, which were then in their infancy. It was interesting, pioneering work at that time: drums and tape decks had to be designed from scratch.
I used to teach acting in a maximum security men's prison. I worked with guys with the most dysfunctional behavior problems. I probably learned more there than from my prestigious theater degree.
