A Quote by Tabu
I come from a generation that had no monitors on the sets. You had to go with the director's conviction and be happy with it. I still work like that.
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I've had friends who have come away who've said, "I shouldn't have become such close friends with the director." You always want to get on with the director, but I personally prefer a relationship where you respect them - you get on really well with them, but they're boss, as it were. It's about trusting your director, for better or for worse. They're the one's seeing what's coming out on the monitors, so you have to try and trust what they say.
A lot of people are like, "Oh, it's so much easier to be a supermodel now because you have Instagram. You don't even need an agency anymore." But that's just not true. I still had to go to all the castings, I still had to go meet all the photographers, I still had to do all of that to get to where I am now. There wasn't a step taken out just because I had social media. I still have 12-hour days, I still have even 24-hour days sometimes; I still have to do all those things. We don't work any less hard than the '90s models did when they were young.
I've gotten pretty good with a tray between acting jobs. In fact, when I got the TV show 'Gravity' I was still doing my catering work. I told my director I had to miss rehearsal because I had to work a party. He was like, 'You're on TV. You need to get over that.'
A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.
I don't recall a show I've ever been on that had the same director do two episodes in a row, but in England, they do it all the time. In England, they'll just have one director for eight episodes. That was the British system that Jane Tranter and Julie Gardner wanted to bring to the States. I think there was a nice merger of the two systems. They might have gone with one director, but John had obligations on The Village, and he had to leave and come back, so it seemed like a natural place to break it up.
I would say this, I'll go back to those black ladies I was talking about who love them some Barack and love Michelle even more - and by the way, they are not middle-aged anymore, because I'm now middle-aged. So they're a little bit older. As fervent as they were, as excited and happy as they were when I was elected, they had to go to work the next morning. They still had trouble paying those bills. They might have still had a son who was in trouble with the law or couldn't get a job because of a felony record. They didn't stop being grounded.
I still go to the conventions, and I like to hear the point of view of people today. I'm a little afraid they're being brainwashed by this new pop-culture. I think it's not really elevating our lives like it did in the good old days of Hollywood, where you had a happy ending. They used to criticize happy endings, but really, what's the point of going to a film if you have to come out hating your fellow man?
I had a director who told me a story about a fan who had commented on how nice it was to see her sister laughing and how happy the show made her. I like to make people happy and make them laugh.
I've had a wonderful career and I'm very happy to have had all of the opportunities that I've had to tell stories and work for as long as I have. I'm sure there'll be a few more films but I'm happy that I'm able to be selective.
As one woman told me, "When I decided to come in to work happy, everybody around me became happy." This woman had decided to quit a job she hated, and on the last day of her two weeks' notice, she woke up happy. At the end of the day, she noticed that everybody around her was happy, too- so she didn't quit after all. She decided to come to work happy instead. Two years later, she's still on the job, radiating happiness and love.
When I got pregnant, I knew I wasn't anywhere in my career, that I had not arrived. I was still on my adventure, and so I said to the child in my belly, 'I am so happy for you to come, but you should know I'm still on my way, and you'll have to come with me and be in my rucksack.'
I had the opportunity to come to the United States of America as an exchange student, so I had to come for four months, work, and then go back.
When 'Animals' released, I still had one year left in school, so it was, like, super weird. I had number one in the U.K., and I would still go to school five days a week. They made, like, a schedule when I could tour and when I had to be home for tests. But my team made it happen. My parents, they helped as well.
My wife, Jill, and I have an incredibly close working relationship, and an incredibly happy married one. We met through work. I was the world's worst advertising copywriter. She had the misfortune to be my account director, so from the very start she was my boss, and she still is.
I'm a work horse. I like to work. I always did. I think that there is such a thing as energy, creation overflowing. And I always felt that I have this great energy and it was bound to sort of burst at the seams, so that my work automatically took its place with a mind like mine. I've never had a day when I didn't want to work. I've never had a day like that. And I knew that a day I took away from the work did not make me too happy. I just feel that I'm in tune with the right vibrations in the universe when I'm in the process of working. ... In my studio I'm as happy as a cow in her stall.
I think my generation has had an unbelievably easy time profiting from the world that was made for us by our parents and grandparents. We are essentially a rather frivolous generation. The Blair government was my generation's shot at power. It had some good things, but it had some flaws.
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