To me, one of the big fears of doing a big huge graphic novel is locking yourself into one style and getting halfway through it and going, 'Oh I made the wrong choice,' which is a recurring nightmare I have.
I like the way I look in a suit, and I wish I owned more. Actually, I wish I owned suits that fit me, I should say. You can buy off the rack and think, 'Oh, this is perfect.' But then you get a tailor-made suit for you, and it's a whole different animal. You don't just look good in a suit, you feel good in a suit.
One of the categories of people I don't like much are intellectuals. People say, 'Oh, you're an intellectual,' and I say, 'No!' What is an intellectual? An intellectual is somebody who thinks ideas are more important than people.
Sometimes the only way I know how to work through something is by writing a poem. And sometimes I get to the end of the poem and look back and go, 'Oh, that's what this is all about,' and sometimes I get to the end of the poem and haven't solved anything, but at least I have a new poem out of it.
I don't play many characters like myself. Oh I don't know what I am!
Oh, completely liberating because even if you don't do a woman right, you just have to put on high heels a wig, a bra and a dress, and I feel liberated.
I sometimes don't try to invent something. I wait for some kind of a direction - and it happens. I get an angle, for instance, and it just appears, and I say, 'Oh my God - that's it!'
I'm grateful for my lines of wisdom. Of course, there are days when I think: 'Oh my gawd, I look a bit tired.' But I can pull it together if I have to.
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.
I liked back in the sixties where you'd turn on the radio and go 'Oh that's Hendrix, that's Creedence Clearwater, that's The Doors, there's The Grass Roots, The Monkees, there's Big Brother.' You could just instantly hear it and tell. But in the eighties and nineties there's no way you could do that.
Objectifying is kind of a funny thing. Art is objectification, all art, because you're taking someone and making them into an object. But people can also talk back more to you when you're sketching them. They can look at you and say, 'Oh man, you got me wrong.'
Well I knew JD could go out there and knock the guy out because in training I told JD all the time that he has height, reach and size and he has the power. JD has such a right hand, his right hand is like wow, oh man it is bad.
I have to believe that most people know that 'Can't Take My Eyes Off Of You' is my song. But the reaction we get from the audience at 'Jersey Boys' is that they didn't remember how many hits we had. A lot of 'Oh yeah, I forgot they did that song.' We had 20 Top 10 hits in the U.S... people forget.
I had no idea it was going to be like this. People come up to me all the time, but it's never, 'Oh, you're Sheryl Lee.' It's, 'Oh my gosh, you're Laura Palmer.'
Oh how I wish I could be as obsessive as Carrie from 'Homeland' when I'm writing a book! That would save me a lot of trouble during the revision process.
I was the teenage kid growing up in New Jersey watching the Tony Awards and thinking, 'Oh, maybe if I'm lucky I'll make it to Broadway by the time I'm 40!'
I've done 'Yo Gabba Gabba!' I've done... oh, it's not called 'Rapunzel' anymore. 'Tangled', that's it. Those are both huge.
People were always like, 'Oh my God, you're going to be working with your girlfriend? Are you freaking out? Is that going to, like, destroy your relationship?' I think it emboldened the relationship.
I was journaling in Florence, and I was like, 'Oh, I have to come out of the closet. I have to break up with this guy' - he was my 'roommate.' So that was my awakening moment, when I stepped into my own skin while in a foreign country by myself and had a very stereotypical moment of revelation.
I don't wake up saying, 'Oh, I'm going to die.' It's a waste of time. It really is.
I've been grinding at music for over a decade now. Since I was 18, I decided that this is what I wanted to do. It's not an easy thing. When you start getting 25, 26, people are like, 'Oh you're a musician huh? That's what you're gonna do? When are you going to get a real job?' I never gave up.
I think the idea is to try and understand everything about the characters and where the character is coming from, from their point of view, why they say what they do. And not, 'Oh, but I would never say that. Why does the character say that?' But then making it as personal as possible.
My general attitude to life is to enjoy every minute of every day. I never do anything with a feeling of, 'Oh God, I've got to do this today.'
I was in a hotel with my dad, and I was just joking around and said, 'Oh yeah, Daddy, I want to model.' I don't know - the camera is just fun.
People say, 'Oh, to be the daughter of Picasso!' But it's not as extravagant as it seems. He was very special, very vibrant, but he was my father. I didn't have another.
When you're 21, you think, 'Oh God, when I'm 36, oh God, that's nearly 40 and I'll look really old and wrinkly by then.' And actually, I quite like the way I look.
I'm 5 foot 2. I wish I were 5' 6. Everyone who meets me says, 'Oh my God. You look so much taller in person.'
It's something he used to say when he was happy. It could be a very, very simple day. We might be sitting out on the front lawn. Dad loved classical music and we might be listening to some Stravinsky or something and having some tea and eggs. And he'd say, 'Oh, good stuff, isn't it?'
Am I overjoyed when somebody says, 'Oh, we're going to do another Jane Austen?' No - because there's never anything in it for me.
I think it's bad for fellas when they lose their mothers. Mine was such a character. Oh it was sad, really sad. And, with her gone, the family home was gone, so what was left of any roots I had were completely dug up.
I'm not going to lie: I still have days when I walk by the mirror on my way to the shower and think, 'Oh God, I didn't just see that!'
It was part of the reason I almost didn't go public with my diagnosis - I was embarrassed. I felt, 'Oh, I've always talked about exercising. And I got cancer.' And then I realized it's a great example of showing that cancer can hit anyone at any time.
I don't care how inventive you are; once you introduce strings into the ensemble for a horror film, you're entering into a world where a tradition has been thoroughly established. So it's repeated use over the years is like, 'Oh God, another film with strings, another spooky movie with strings.'
People work so hard, and I want to keep that energy up, and you can spread that if you're the actor. But I'm also not able to turn it on and off like a faucet. A lot of what I'm called upon to play is violent or angry. When I'm messing around with the crew and making jokes, I remember, 'Oh, this is the guy I normally am.'
Oh, I love to read more than anything. I always love the 'New Stories From the South' anthologies - I think it's the best short fiction collection anywhere, just filled with treasures.
If you were to find all the people I've worked with and ask them what they think of me, they're all just going to say, 'Oh, wonderful', and it'll just be a lot of blah.
