I have always tried with my shows - win, lose, or draw - to take the boundaries of music as far as I can.
When I hosted 'Win, Lose or Draw,' it was always fascinating to me that no one knew where anything was when they had to draw a destination.
I tried to keep myself away from him by using con words like "fidelity" and "adultery", by telling myself that he would interfere with my work, that I had him I'd be too happy to write. I tried to tell myself I was hurting Bennett, hurting myself, making a spectacle of myself. I was. But nothing helped. I was possessed. The minute he walked into a room and smiled at me, I was a goner.
I've always just tried to continue to be a working actor and let the work speak for itself as opposed to promoting myself as someone who needs to be in everybody's living room.
Sometimes in football you deserve to win but lose. Other times you deserve to lose or draw but you win. That is the game, and it's why I've always said you should never try to predict anything in football, especially in Europe.
The thing that's really kept me on my toes is how my mom would always tell me - it's not the best thing for a mother to tell you - but she'd never tell me after I'd lose a soccer game, 'You'll do better next time.' She'd always say, 'There's always somebody better.'
Different things work for different people. One thing I've realized, though, is that the work that I've done on myself outside of my work as an actress has really allowed me to open up my mind. I think I understand my emotional state and my complexities now in a much clearer way, and I can put them to rest in a way that there's almost a catharsis that happens through the work, where I can do it and then find myself again.
I think sometimes, when you're on top and all you do is win, win, win, win, win, you get lazy and lose focus. When you lose it opens your eyes and you get serious. There is always a time when it is good to lose, at the right time for you.
Very gifted people, they win and they win, and they are told that they win because they are a winner. That seems like a positive thing to tell children, but ultimately, what that means is when they lose, it must make them a loser.
I'm finding things out about myself as a person - as a writer - as I write, and so are the people who listen to what I do. But they have this additional aspect of how they take the stuff that I do, and so it broadens the work and it creates this strange connection. It's really a way of strangers communicating through this third thing, which is a body of work. But really, I know it's a cliché to say I write for myself, but I write for myself.
My job is to help the functioning of the story, not to draw attention to myself, but to make my characters function within the story, to work for the benefit of the story, to make the whole thing work.
It's a fine balance between design and the thing making itself happen. The stroke has to have complete precision to work. Sometimes I lose it on the exit. You can't fudge it. It ruins the whole thing.” The resulting figures are almost always contained within the rectangle. “It's less of a window if I keep it within the confines of the canvas, but there's almost always a drip that's an umbilical cord.
If you can create an environment where people are invited to do their best work and the best ideas always win, then the project itself will win.
If there's one thing I've always taken care of with my work, it's that it's never an advertisement for anything other than the work itself and for the people it's about - no 'Coca-Cola presents.'
The bad thing about the Bushwhackers is that win, lose, or draw, you gotta have everything you got on fumigated.
Any manager will tell you that they would rather win one and lose two than to draw three, because you get more points