A Quote by Gail Collins
I just really like Houston despite its craziness. There is a sense of energy and a kind of excitement, 'We're going places and God knows what'll happen next.' It's very interesting. It's very exciting.
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I used to just go up to strangers and tell them really elaborate stories about who I was and where I was from and try to spice my story, which I didn't think was very exciting at all. That gave me a sense of life, a sense of excitement - but I don't do that anymore.
You never know why or when the next job is coming. I actually like that. It's kind of exciting. I don't punch in. I don't have a 9 to 5 job. When you do work you're lucky enough to go to interesting places and meet mostly interesting and talented people, so it's really a great job if you can work.
Of course, I love the arenas; there's a great deal of energy and excitement playing those kind of shows. But there's something that's very intimate and very special about a small venue, where you really feel like you're almost getting to know everyone in the audience.
There's usually a sense of humor about all of it. It is what it is. I had two characters that were equally detestable, in very different ways, that hit the airwaves, at the same time. It was a very interesting year in my career, in that way. But I have no fear, on that note. I have a new project for HBO, where I'm going to play the good guy. That's going to be fun and exciting, and shift the paradigm a bit.
I was very sad to leave Harry Potter but equally there will be an element of excitement about the idea that a script might come in and I don't have to go: "I'm sorry, I'm kind of busy for the next four years." The idea of that is quite exciting.
I think the B-52's were a huge influence on Sleater-Kinney. The way that there'd be a really interesting guitar line that'd be really melodic and kind of simplistic, I really related to that. The sense of melody is really intense and fun. It's not just traditional song structures, but it's very melodic and draws you in, in kind of an immediate way.
I suppose whenever you go through periods of transition, or in a way, it's a very definite closing of a certain chapter of your life. I suppose those times are always going to be both very upsetting and also very exciting by the very nature because things are changing and you don't know what's going to happen.
I suppose whenever you go through periods of transition, or in a way, it's a very definite closing of a certain chapter of your life - I suppose those times are always going to be both very upsetting and also very exciting by the very nature because things are changing and you don't know what's going to happen.
The risk is only in the outcome. You're going on a journey. You're going somewhere to play. And at that time, it felt right to spend that 11 or 12 days exploring this kind of role because it was so different and so challenging for me. It was really exciting to be able to show people, "Look, this is very different. Isn't it interesting?"
Particularly when I thought of myself as a Wallace Stevens acolyte, I wrote very difficult poetry and I was really guilty of not knowing what I was talking about. I was going for a kind of clever verbal effect. I was trying to sound linguistically or verbally interesting. I had a sense, I guess, from just reading a lot of poetry of how a poem would start and how it would end but really I didn't know what I was doing. It had very little connection to my life.
We live very wonderful, privileged lives, and we're very lucky and fortunate, but it doesn't mean we stop caring. With Brexit and everything, and then Donald Trump running for president, of course, we were like, "Is this really happening? No, of course not, it's never gonna happen." It's impossible to not affected by the craziness of the world.
The beginning of a painting is a very energized, exciting time, and it generates most of the energy I have. If I've gotten 75 per cent of it down, then it takes an effort to really get up that kind of energy to finish it in the same way it's begun.
In real life we don't know what's going to happen next. So how can you be that way on a stage? Being alive to the possibility of not knowing exactly how everything is going to happen next - if you can find places to have that happen onstage, it can resonate with an experience of living.
Part of writing a novel is being willing to leap into the blackness. You have very little idea, really, of what's going to happen. You have a broad sense, maybe, but it's this rash leap. It's like spelunking. You kind of create the right path for yourself. But, boy, are there so many points at which you think, absolutely, I'm going down the wrong hole here. And I can't get back to the right hole. I'm not going to be able to get this section back to the right hole - so I'm just going to have to cut it.
The most exciting thing in England is a pigeon or foxes, which isn't very interesting to watch because everyone knows what they do. But I've taken pictures of them. Just for practice.
Well, my boyfriend's from California so it's kind of a bit of California countryside but closer to home. It just takes a couple of hours to get there. I don't know, it's just very laid back, nobody knows who we are really. We've just got our friends there who are kind of outside Erasure and everything. It's just very nice
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