A Quote by Selma Blair
It was like I had a baby and I suddenly started to feel I could play anything.
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When I was a kid, I felt like I could do anything and play anything. I just felt super-confident. And then, once I started to play music professionally, maybe it's from being from a small town, but you grow up and then you're suddenly a big fish in a small pond, and I realized that there were a billion other drummers out there that could play as good as you or better, and everybody wants that job.
When my baby was born, I felt like somebody had spiked my drink, and I suddenly was so full of love that it was a little bit as if I was drugged. I didn't think that anyone could feel that way.
I love my family but my family - they're the type of people that never let you forget anything you ever did... I was in the first grade Christmas play - I'm playing Mary. Now, during the course of the play, I dropped the baby Jesus... They still talk about this. I go to my family reunion, and one of my cousins just had a baby. So I'm like, 'Oh, that's a cute little baby. Let me hold the baby...' And my aunt runs over, 'Don't you give her that baby! You know she dropped the baby Jesus!'
I started piano like my sisters. After one year or two, I didn't like it anymore. Then, because I like trumpet, I played the cornet. When you are 7, you can't play trumpet - you play cornet. And something didn't go well. The teacher was too hard. Too rough. Suddenly, there was this instrument, the flute, that I could immediately play.
Before WeWork, I had a baby clothing company. When I started out, I had no real contacts in the garment business and no mentor to guide me on how things worked. I just had an idea to put pads on the baby clothes on to protect the baby's knees.
When I started modeling, I was definitely heavier. I was quite voluptuous in fact. I had a real baby face and baby fat. But I was a baby! I was told I had to get into better shape, but I'm quite stubborn so I didn't.
Very suddenly. Yes, quite suddenly, I didn't feel like I could handle my feeling of aloneness.
I have genuine empathy for the fact that if you're a professional footballer, you've often started at three years old, you've been found, you've been scouted, you play, you play, you play, you make millions, you live this incredible life. And then you reach 35, and suddenly you have to stop doing it, and you haven't been taught anything else.
I get this a lot: 'Oh, can you take a picture with my baby? Can you hold the baby?' I don't want to hold your baby! I'll hold my baby. I don't like holding someone else's baby. I'm serious! You never know what could happen. It's such an awkward position you're put in, and it's like, 'No, sorry.'
The first gathering of salads, radishes and herbs made me feel like a mother about her baby - how could anything so beautiful be mine?
I just started trying to figure out how to write [something] which was unlike anything anybody had ever seen, and once I felt like I had figured that out I tried to figure out what kind of book I could write that would be unlike anything anybody had ever seen. When I started writing A Million Little Pieces I felt like it was the right story with the style I had been looking for, and I just kept going.
When I first started, as long as you were a bit brown, you could play any kind of ethnic anything. Now it's much more localised and specific. I feel like a wise old woman looking back on the evolution of how much more sophisticated audiences are.
I didn't think i could possibly love another baby as much as I loved the one I'd already had," I continue. "But the strangest thing happened when I held you for the first time. It was like my heart suddenly unfolded. Like there was this secret space I didn't even know existed, and there was room for both of you." I stare at her. "Once my feelings were stretched like that, there was no going back. Without you, it just would have felt empty.
Suddenly, I realized how tough trying to structure a story like this is. It was a lot of work. The one big advantage that we had was that we had eight scripts written before we started shooting, or even started casting. We had a really good opportunity to look at it and figure out where we were going to go and how to do it. Once we got a cast, which I love, then we started doing some revisions to make sure that they fit into it.
I never want to feel complacent, and I had started to, a little bit. I had started to feel like "I have this thing I can do, it's worked a few times," but not only does that get boring, but you feel stagnant and unproductive. So I was feeling a lack of creativity and motivation, so I started making a more conscious choice to grow personally. It wasn't even an image-conscious thing, like, "I don't want people to think this way about me." It was really just a way to keep myself energized and feel excited about this thing I love doing. Like I went to couples therapy or something.
When I started, I was a theater actress, and there were roles that I couldn't imagine not playing, like Rosalind in 'As You Like It.' I used to think I would die if I could play that. But then I started doing movies, and I had children, and I moved to Los Angeles. And now I kind of can't remember what those roles would be.
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