A Quote by Julie Chen
I guess because I was on the 'Early Show' for so many years, any little victory here is something kind of new for me.
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I guess I don't really know any other way to do it, it just feels like the natural way to do things for me. Like - if I'm writing a song - it has to have some sort of value. Or it only has some kind of value to me, if it's something really personal. It has to mean something to me. I guess it is a little uncomfortable, or it's a little embarrassing sometimes, to know that stuff that honest is out there. But, when I hand off the thing, when it's totally done and mastered and sent, I kinda feel like it doesn't belong to me anymore.
There's always a little fear anytime you're doing something crazy because at any moment you can break a leg, land on your neck, or peel off the bar. Over the years, we've fallen so many times that we've kind of learned how to fall safely. Still, there is always a risk.
I kind of worry about that a little bit - we lost our film culture for 30 years because the Americans came in and bought up all the cinema chains and wouldn't show any Australian films.
Years from now, years and years, one of those ships will bring me back, me and my nine Brazilian brats. Because yes, they must see this, these lights, the river -- I love New York, even though it isn't mine, the way something has to be, a tree or a street or a house, something, anyway, that belongs to me because I belong to it.
The biggest thing that I've appreciated is that a lot of brands have stepped up and sent me stuff. As a professional runner, for many years I've been given Nike clothes. It's been kind of cool and fun to try something new and to do something that I haven't done in six years - train in non-Nike gear.
When you get many opportunities early on, and you have people who have been working for a while counting on you, you have to at least pretend that you know what you're doing. So any actor that's pretending, you start to develop philosophies. Without years and years of experience, you kind of go with an attitude that you know what you're doing. And so I think right around that time, I was kind of at the peak of rigidly thinking that I knew how to work in film in a way that I wanted to. Cameron was extremely patient and generous with me.
A new setting is amazing cause it's new for the team, and it's new for our characters. It's a breakaway from the normal deal. You get so tired, locked into a show for so many years. You get used to doing the same thing. A little shake-up and change is good.
[Producers] took me to Chicago at 18 to star in a show that ran for almost a year. And that's when my parents said, "Okay, I guess you can quit Fordham." Of course, when that show closed, as you can imagine, I came to New York and starved for years, but it's never an easy road.
I guess I showed certain signs of being a workaholic in early years; I had a magazine route very early on - I must have been about seven or eight years old or something like that - when I was carrying Liberty magazine, trying to win green and brown coupons; I eventually [won] a pony.
I remember being a kid, I was a little kid when my dad took me to 'Munchausen.' I guess he took my whole family, but I kind of didn't want to go for some reason. Then we got there, and I was so mesmerized by the movie, and I was really taken by the young Sarah Polley. I didn't realize until many, many years later that it was Sarah Polley.
Well, the 'Giuliana & Bill' show is a little bit different because Giuliana and I are the executive producers of the show, so certainly we have a lot of control and we have total, I guess if we wanted to, editing power, but I will say, in the seven seasons we've done the show, we've never used our executive producer powers to cut something out.
I can't tell you how many people have asked me to show them Stray Cat Strut and that little diminished run on the C. I guess my brain is wired backwards. I don't know what possessed me to do that, but I did.
You have 15-20 years of work for that one throw, that one moment. And I was like, 'Okay, Lord, this is it - you told me I had the victory. So this is the time to show me'. And I'm going to give it all I have because this is my last throw in the Olympics.
I think it's important for me, for my crew and for the audience to bring something new to each show. I have friends who have done the same act, word for word for word, for 20 years. I have a problem with that. I think the audience should see something new in each show.
I'd seen her name on a call sheet for so many years and been called Jo so many times. If people said Jo in the street, I used to turn round because I was so used to being called Jo for five years on Spooks. You do get so used to being called something. Often, it was someone calling their young son... but sometimes it was people calling after me because they recognised me from the show. So, it was a big deal when it happened and it was quite an emotional end.
It's something we do every week. Every week kind of has bigger name headliners. It's all just our taste. There's a lot of people like Ian Edwards or Dan Mintz who a lot of people haven't heard of yet, but we know are really great. When we started the show five years ago it wasn't because Patton Oswalt needs another place to play. It was because we had a lot of new friends like BJ Novak or Morgan Murphy, who didn't have any club to play.
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