I'd always had a hankering to write some old-school sword and sorcery. And there certainly are advantages to that particular form - for one thing, you're able to go all-out on the imaginative front, with a lot less concern for the usual unities of time and space and character.
My music is about where I am at the time. In 'Raymond vs. Raymond,' I was going through a lot of things, and it came out in my music. My marriage fell apart, and I was suddenly a single father.
I think I have a lot of room for improvement. My serve is okay, but I need to work on a lot of things: return, transition game, backhand.
I don't know. You know, when I'm not acting, I'm not an actor. I'm just a person. That's how I go through life. I'd rather not - you know, like a lot of actors, you know, they spend their whole 24 hours a day being an actor.
I want to expand jazz; I don't want to keep the audience limited. I want to reach people who have never come to a jazz concert before. One way to do that is by making records that have a lot of different kinds of music on them.
My dad's an artist, and my grandfather paints - he's not a painter; my grandfather's a butcher - but he does a lot of crafts, stained glass, painting, that stuff. There is art in our family, and I was an art major in college along with being a theater major.
I'm a pretty avid reader, but I missed feminism in college. I did take an intro course where I read Mary Wollstonecraft, but I didn't read a lot of the seminal writers. Then I had two teenage daughters and was reading books on development and different issues.
My own special knowledge is about the Abenaki people and, to some degree, my Iroquois neighbors. But whenever I write anything about another tribal nation, I always get a lot of help. Not just from books, but from people who belong to that tribal nation.
When I started, there weren't any arenas. There was football fields, but they would only hold three or four or five hundred people at the most... We played a lot of high school auditoriums and things like that - a lot of churches... but boy, it has changed.
A lot of my work is about developing relationships with corporate partners such as Jaguar and Diageo.
A lot of people will look at you and will fail to see your beauty because you're covered up and they're not used to it. So growing up, I just had to work on my people skills and give people a chance to really know me besides the clothing.
Every time I see a musician - it doesn't matter what age - that inspires me, there's always a secret little wish that maybe we'll play together, because that's how I learn and grow and so forth, you know. But hopefully there's a lot more.
Something that I think I figured out slowly was if you're playing a show and there's a chatter or there is, you know, a lot of noise - people talking or something - I was never the one whose instinct was to try to be louder than them.
There are moments that you suffer a lot, moments you won't photograph. There are some people you like better than others. But you give, you receive, you cherish, you are there. When you are really there, you know when you see the picture later what you are seeing.
My childhood was bittersweet in many ways. We moved around a lot. By the time I was 10, I had travelled thousands of miles, often on my own. My parents were like my friends, so it felt like I didn't really have parents at all. But in a crazy way that was very liberating. It forced me to be independent, maybe a leader, and certainly a survivor.
A lot of people don't understand how cargo coming into our ports matters, not just to Southern California but to every single congressional district. I want to educate on that issue.
There are a lot of countries, oil-producing countries, that aren't very democratic, but supported by the United States. That's odd.
Growing up in the industry, sometimes you can feel as if you're not having a normal childhood, but I feel like my parents involved me with a lot of people who made things as 'okay' as they possibly could.
Much good art got made while money ruled; I like a lot of it, and hardship and poverty aren't virtues. The good news is that, since almost no one will be selling art, artists - especially emerging ones - won't have to think about turning out a consistent style or creating a brand. They'll be able to experiment as much as they want.
The only real difference between shooting 'Firefly' and 'Serenity' was that on 'Serenity,' we had a lot more freedom with time. When you're shooting a television show, you usually have anywhere between six and nine pages of script to shoot a day, and only twelve hours to do it. But with 'Serenity,' we could shoot one scene all day long.
A lot of the time when people get married in the infatuation, it will go down. That is inevitable. The infatuation stage will not last forever.
What's interesting is a lot of the older music when we start performing it, it acts a lot like muscle memory. It's kind of like riding a bike. For me as a singer, I just had to remember like what part of my face I sang that into.
I was a huge horror fan, especially in my teenage years. Back then, there were a lot of Italian horror movies - some zombie, some just really strange movies that made no sense. I was really into shock and gore.
I always tell up-and-coming DJs you have to really love what you do and find that interest to drive you. It requires so much attention to detail, and it takes up a lot of your time. You hear a song, and there are so many little pieces that make that song work. It requires a lot of patience, diligence and resilience.
I think a lot of people don't understand how deep AI already is in so many things.
Because of the shape of my eyes, I can wear a lot of make-up. I can do a smoky look in the evening, but in the day I wear a lot less. Most women don't deal with lip pencils - they have been given a bad name, but are essential, especially as we get older.
Those things interest me a lot in songwriting - the human nature of how people think, and the muck that we wind up in.
I will not ever say that it's good to start with too little preparation, because that's patently not true. But I don't rehearse the way a lot of directors do, to stage a scene in terms of manners and attitudes and lock them in.
If you start your own thing, you can learn a lot really fast from doing things wrong.
Whenever I go jamming, people are looking to cut me. The young ones learn my stuff and come play it at me, and I have to learn other stuff. I feel a lot of pressure. But it's cool. It's a good pressure.
I have a Ph.D. in philosophy and sports science. At 14, I went through this really tough Soviet training system. A lot of my roommates got psychologically broken or physically injured. Either you came through, or you were out. I made my Ph.D. work in the field of young athletes aged 14-19 because at this age any human is changing.
Daddy was a salesman and away a lot, always working. My mom took me to the movies on Thursday nights because it was dish night, when they gave you a free dish along with your movie ticket.
So many diseases and illnesses have fundamental roots in the lack of clean water. Resolving the clean water crisis would mitigate a lot of problems.
Taiwan gives a lot of foreign aid to Costa Rica, so it looks like they are basically buying the right to fish, even though it's not legal.
Kosovo is a small country but it also has a lot of riches that were granted to us by God.
It is therapeutic for me to act, to be able to slip into somebody else's skin, and know it's not you, but know that you bring a lot of yourself to it. At times in my life it's provided me with a lot of confusion. It's also provided me with a lot of discovery.
