I think that the dialogue between police officers and the black community has to get better, but not better in a way where, 'Oh, let's talk about it when something horrible happens.' The dialogue has to be going on consistently, every day.
My brother Ryan was on the Disney XD show 'Pair of Kings' where he played Lanny, the evil cousin to twin kings, for three seasons. His motivation to be a better actor always pushes me to work harder and try to be more like him. When he gets a role, he will study that character until he becomes that person.
The best Mother's Day gift I ever got was just a full day with the kids where they did their mommy pampering. They cut cucumbers and put them on my eyes and my daughter gave me a facial. I'm not even sure what was in it!
I was being flirted with for 'Modern Family,' which my wife still hasn't let me live down, but it's one of those things where that show is so brilliant because the casting couldn't be any more perfect. It wouldn't have been right for me, and I wouldn't have been right for it.
We need a liberal agenda in which government resists the temptation to interfere in the lives of individuals but is equally determined to play an active role where creative action can advance the liberties of all.
On 'Dawson's Creek,' those kids were supposed to be outsider kids - you know, wrong-side-of-the-track kids, weirdo kids. And I just felt like there's no universe out there where Katie Holmes isn't the prom queen, hottest girl in school.
High school was interesting, because I went from a public school middle school to an academy where the first year we were doing Latin, chemistry, biology. I mean, I was woefully unprepared for the type of study.
What the United States wanted in Guatemala - and in Iran, where the C.I.A. also deposed a government in the early 1950s - was pro-American stability.
I'm not really interested in doing a traditional romantic comedy where everything ties up neatly.
My trust in God flows out of the experience of his loving me, day in and day out, whether the day is stormy or fair, whether I'm sick or in good health, whether I'm in a state of grace or disgrace. He comes to me where I live and loves me as I am.
I have always worked and did my work on the fringe, where I have feel very comfortable.
In the real world, people just get on with their lives. And that's where AC/DC come in.
The best advice I can give women at all levels is increase training. There are still areas where we have to break through that glass ceiling.
I've witnessed so many meetings and conferences where people are trying to figure out what young people think, and my feeling has consistently been that you should just ask them.
It isn't where you came from, its where you're going that counts.
If you reach a point where your entire farm system is in the big leagues, you've traded a couple guys for players who are now in the big leagues, you know what you do? You start over in your farm system, and you keep developing the talented players you have.
Randy Wittman told me not to shoot 3-pointers. That got me very uncomfortable. There were certain labels tagged on me very early in my career, spots on the floor where I felt uncomfortable.
You read a book, write a detailed review as proof you've read it, and they give you a badge. That's where my competitive nature came out. Give me the badges! I would sit in the library all day, not 'cos I loved reading, just because I needed those badges.
As a freshman in college, I was having a lot of trouble adjusting. I took a meditation class to handle anxiety. It really helped. Then as a grad student at Harvard, I was awarded a pre-doctoral traveling fellowship to India, where my focus was on the ancient systems of psychology and meditation practices of Asia.
I studied Japanese language and culture in college and graduate school, and afterward went to work in Tokyo, where I met a young man whose father was a famous businessman and whose mother was a geisha. He and I never discussed his parentage, which was an open secret, but it fascinated me.
When I first started making music, it was where I went when I couldn't express myself, when I wasn't able to connect with other people, when I couldn't talk about what I was going through.
I've never been in the enterprise where your customers are your partners. It was always, you had customers, and you had partners.
The album cover of 'Death of a Bachelor' is me on my roof of my backyard, so that's my place where I spend most of my time writing.
In the '80s, I got tired of the rat race. It was a terrible time for music. I wasn't part of that whole MTV craze. I did 'Go Ahead and Rain,' which was Madeleine Stowe's first bit, but felt no connection to it. I went many years where I didn't have to work.
Like it or not, we are all liars. Thank goodness. Imagine going through life where everyone is completely honest: 'Those shoes... look like something out of an early Cyndi Lauper video.' 'Your daughter... looks like the spawn of Honey Boo Boo and Elmer Fudd.'
Well, my thoughts about California are kind of mythological. To me, as well as being a real place, it's a place where people go to find something - to find happiness or to realize their dreams. So it has that kind of quality of heroism and heartache, and Australia has that, as well.
I didn't really have an identity crisis because I really, really knew who I always wanted to be But I definitely had a lot of problems with my body. I was very skinny, and I guess my body was sort of pre-pubescent, but when I grew hips and thighs, I just didn't know where I was in the world. It was weird.
I'm a small-town boy who comes from a traditional family on a tiny island called Belitung. I may not know where I'm going, but I'll always know where to come home to.
For boys like me, in north Indian railway towns in the '70s and '80s, where nothing much happened apart from the arrival and departure of trains from big cities, the Soviet Union alone appeared to promise an escape from our limited, dusty world.
I have this absurd syndrome where I get these out-of-the-blue, pathetic panic attacks. It'll be in a very easy, simple scene when everything is going swimmingly, and then suddenly, bang, I'm shvitzing and can't remember my lines.
I love working if it's with people who are capable of having a good time. People with a little bit of enjoyment of what they do. If it's enormous pressure, and people feel that their lives are at stake, then it's agony. So I try to pick projects where I feel like I'm going to avoid those traps.
I try as hard as I know how to keep my reader relating on a broad level so I don't lead her someplace where she thinks that's the only thing that could cause insecurity.
With music, I get to a much darker place. Where I'm able to go with 'Portlandia' has a wider range, but also a brighter range.
I love going to the cinema. Whenever I get time off, that's where I go.
I grew up in a small town where everyone wanted to be the same or look the same and was afraid to be different.
There's a lot of noise in the world. And one of the beautiful things about doing theater and film is the absence of that noise or, perhaps, the adding of that noise where it's helpful in telling the story. I'm always trying to get rid of that noise. The more you do it, the better you get.
