I've never changed the way I live. I still walk the streets; I don't give a damn. And everyone's very nice to me. But this new idea of being famous for no reason at all? I can't actually get my head round it.
When I went on tour with my father, I knew he was a musician. But they were my parents. I still think of my mum as being kind of a dork - a cooler one, but still a dork.
We really were poised to make 'Rumours 2,' and that could've been the beginning of kind of painting yourself into a corner in terms of living up to the labels that were being placed on you as a band.
I don't have a problem with being a woman. Women's bodies are so beautiful.
One of the interesting parts of being on a television show is you often don't know the fate of your character until you're reading the script. I always look forward to finding out.
Real success is not on the stage, but off the stage as a human being, and how you get along with your fellow man.
It's a very nice kind of quasi-fame being a writer, because you remain largely anonymous and you can have a private life, which I really cherish. I don't like to be in the public light all that much. I don't crave the whole fame thing at all.
I tried to stick to my game plan, which was always being aware of what my A story was - the love story between a father and his son, and that son and his daughter.
Even as a footballer, I was always being creative.
I mean, the nation in which we live - and the world in which we live - is so extraordinarily more like a future than the futures that we're being sold on the screen and on television.
I think I am kind of put on this Earth to speak of being between worlds in my films.
The hardest thing about being in this business is just being able to be yourself. People act like there's this one set of rules to follow to be a pop star and I think, 'Well, you say I'm a pop star, so maybe that's not true.'
A cookbook is not like being an author. It's writing down recipes; it's not writing.
Being a Mum is a big job.
I've already felt that I want to direct. Being an executive producer is like the best job in the world because you make all these executive decisions and then you leave the money to other people. You don't have to be on set and counting beans.
I don't admire Freud as much as some people do. Imagine Shakespeare being aware of the Oedipal complex when he wrote Hamlet. It would have been a disaster.
My plays aren't stylistically the same. Just being an African-American woman playwright on Broadway is experimental.
I could see that, if not actually disgruntled, he was far from being gruntled.
I've taken great pride in not being fragile.
Being able to breathe underwater would be sweet. There is so much life underneath the water that we don't know about. I would love to check out the bottom of the ocean to see what's going on down there.
You get so afraid of failure and so afraid of losing and so afraid of not being the best that it's not a natural drive - it's born out of fear of failure. Which helps in Hollywood.
The thing about not being historically a mainstream writer is that everyone feels like you're theirs: you're their friend.
Being a star just means that you just find your own special place, and that you shine where you are. To me, that's what being a star means.
Being big and famous doesn't get you more freedom, it gets you less.
Most of my childhood revolved around wondering when we would be blown up by the Russians. I couldn't stand the news, I knew that if the missile were launched, mortality would arrive in half an hour, so I spent a lot of my childhood feeling that I was 30 minutes from being dead.
The best opportunities are often ones where you're being contrarian. That doesn't mean being contrarian for contrarian's sake, but it means you're thoughtful about the risks of following the crowd.
I live in fear of being a contented passenger. I'd rather get parts I can't play.
Life is different than it was in the Nineties. I'm a dad, and there are other things I have to get done in an afternoon than just being an artist.
Being fat worked, and I think that was what was confusing for me for a long time in my career.
I always try to keep that feeling of being on the edge. I'm afraid of knowing too well and seeming mechanical.
Doubt, it seems to me, is the central condition of a human being in the twentieth century.
Most of the time, the things that really change the world exist for something fundamentally selfish and then the world-changing ends up being a side-effect of that.
And I think for me there's a lot of neurosis involved with where you should be or thinking about where you are all the time instead of being where you are.
Isn't one of your first exercises in learning how to communicate to write a description of how to tie your shoelaces? The point being that it's basically impossible to use text to show that.
People think that being on Star Trek is career suicide, but it's really just the opposite.
I spent half my life being hurt. The leftovers of hurt are an automatic gesture, like a dog that salivates.
