I read an awful lot in college - a lot of Dickens, a lot of 19th century American stuff, a lot of old mysteries. Maybe it's helped me attain a certain fluidity with my style.
The more you write, the faster you'll write, and the less you'll mind throwing stuff out.
I'm trying to use whatever attention is focused on me and divert it to something that really deserves the attention and try and sort of stay out of the way of the rest of the stuff.
I get freaked out by pills. Everyone I know is always like, "I'm just going to take a Valium or an Ambien on the plane." But I can't do any of that stuff - it scares me.
I like searching for the collision detection boundaries, finding invincibility glitches, and purposefully doing other stuff that normal players aren't supposed to do. In order words, I'm a bug checker.
I got to trumpet, finally. That's why I love to write for brass, and [Count] Basie and [Frank] Sinatra and all that stuff, 'cause that's just like part of my DNA.
I enjoy the process of writing collaboration so there's some stuff that already that may happen and then some stuff that I'm initiating that I may write on my own.
I was really into R&B and stuff like that, so I really wanted to sing like Faith Evans or Mariah Carey. But I definitely don't have the skills to sing like that.
And I'm a Catholic, from an Irish Catholic family, and we know plenty of stuff about guilt.
I really do know what I want with my life. I think that keeps me from making bad decisions and spending time doing stuff I don't enjoy.
I always thought when I was doing more melodramatic stuff like Everwood that the directors were constantly reeling me in and stopping me from being funny. I've always tried to find a funny angle on things, and 99 percent of the time, it just doesn't work.
I do have rules, and etiquette things. I think it's a southern thing too, to an extent. I'll hold the door for someone, but if they don't say, "Thank you," it pisses me off. I say, "Yes, ma'am," and, "Yes, sir." Stuff that is maybe archaic in a lot of ways, but that's how I was raised, and I don't think there's really any harm in that.
I do think that I never got tied down to any social scene. I was just into creating stuff.
I started to get so many letters from unlikely people; a single mum going, "I watch your show, I'm not into survival, but I hold down four jobs and I get it when you say it's about persistence and putting a positive attitude into things during difficult times." That for me was a great liberator to realize that the show isn't about me running around, jumping off stuff and flexing muscles, it's about inspiring people. That makes me really happy.
I wouldn't say pop stars hit on me - that's just stuff the papers make up.
I don't think a lot of people listen to their old stuff, do they? I spent a long time making it, so I don't really want to spend much time listening to it again.
I spend a lot of time working and with my family, so I don't have much time around the edges to do much else. I don't really listen to a great deal of music. I love music, but since I spend a lot of time in the studio, we probably watch a movie rather than listen to albums. I get to hear stuff, but not on the grand scale.
I used anything, various materials; this is wood, and this is mixed up clay, wedged together, clay with glazes and stuff like that.
I love sculpture, and minimal sculpture is really my favorite stuff, but I wasn't very good at it, and I don't think in a three-dimensional way.
There's a certain point, when you're writing autobiographical stuff, where you don't want to misrepresent yourself. It would be dishonest.
I like things pretty reduced. I don't understand how people live with so much stuff around them, because you can't focus on it, and after a while it ends up becoming absorbed. It's not as if anything's really being appreciated. To me all that stuff is some desperate message to everyone about who you are, like bumper stickers.
I listen to a lot of really old western and country music. Theres a lot of cool stuff in there all the heartbreak of the country darkness.
I'm very wary of doing political stuff for a lot of reasons. One of the big ones is that the shelf-life for them is not very long, and the joke becomes old news very quickly.
I'd love to design stuff that I'd like to wear and that other people could wear, too.
When you lock everything down tight so that the pain can't get out, you also keep good stuff from getting in.
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