I remember I had a low point when I was working on a soap opera, 'General Hospital,' five years ago. It was my first real job, and it was so overwhelming. You would work five days a week and have to learn sometimes up to 30 pages of new dialogue a night, then have one take to shoot it all, the next day.
I didn't know I was going to go into musical theater necessarily. It was never planned. I just kind of fell into it because I knew I wanted to act, and yet I had this opera training... I knew I had a voice.
When you work on a soap opera, that's three years of you working every day. There was no time to do anything other than the soap opera - you're locked in.
All I knew about Ireland before I went there was what I learned from watching soap commercials all my life. I was totally misinformed. I thought it was an Irish tradition where you don't even take a shower with your soap - you take your soap for a walk, you compliment the soap for a little while and then, suddenly, you just start hacking it up with a hunting knife.
When I left the Senate in 1979, there were several publishers who had approached me about writing an autobiography, and I knew that politicians write books for many reasons, but at that time, I just thought I wasn't ready and my story wasn't over, and I knew I had a new life ahead of me.
I knew Tim Pastoor. I knew Sherry Ford. I knew many of the individuals who would follow me around. I knew who they were. I knew they had access to my email.
My first offer was when I was 12, and it was for a soap opera. And I turned it down because I knew that I was an unformed actor, and I didn't want to develop bad habits.
I knew how the suits used to talk about the artists, with barely concealed contempt. So I knew what was waiting for me round the corner. Because I wasn't one of those very unusual people like Neil Diamond or Elton John, whose careers just seem to span the decades. I knew I wasn't one of them.
I know who you are in your heart,' Andres said. 'That's all that matters.' And that was it. That was the moment. Now I knew how I would feel if I ever lost him. That was how you knew love. My mother had told me that. All you had to do was imagine your life without the other person, and if the thought alone made you shiver, then you knew.
Mrs Forrester ... sat in state, pretending not to know what cakes were sent up, though she knew, and we knew, and she knew that we knew, and we knew that she knew that we knew, she had been busy all the morning making tea-bread and sponge-cakes.
I didn't necessarily have a total idea when I was writing the movie of where everything was going. I just wanted to have really realistic dialogue and write like people I knew talked. I tried to keep it very real.
The real guys that I knew were really cool people, who I played basketball with and traveled with on teams and knew their families and knew that they love their family. They just happen to do something that wasn't all the way legal, but it was a part of their life, and you knew that they hustled.
I worked initially in very low-budget independent films that I often wrote. My early work was all written by myself, and then I adapted 'Tsotsi,' so I was used to the writing process being, in a way, integral to my directing. I felt it really prepared me.
My father's an opera nut, and my stepmother used to work at the Metropolitan Opera, so I had a lot of opera immersion. I like the grandness and pretention of it.
I wasn't a 'Star Trek' fan, yet I knew who all the characters were. that goes to show what an impact the show had not just in entertainment but in life. I knew who Chekhov was and I knew who Kirk and Spock were, although I probably had never seen the show.
I wasnt a Star Trek fan, yet I knew who all the characters were. that goes to show what an impact the show had not just in entertainment but in life. I knew who Chekhov was and I knew who Kirk and Spock were, although I probably had never seen the show.