I got successful awfully quick, and I wanted it... But I do think there is responsibility to move the musical theater form forward. I think you always have to be aware of the work that came before and build on that.
You think you can go into all those auditions not knowing who you are? The work came after I found my sense of self - when I wasn't so manic and desperate.
The fame and reputation part came later, and never was much of a motivator, although it did enable me to work without feeling guilty about neglecting my studies.
Out of labor's struggle in Arizona came better conditions for the workers, who must everywhere, at all times, under advantage and disadvantage work out their own salvation.
I always wanted to do a comedy, but I wanted to pick the right one. But it came down to working with Steve Carell. I've wanted to work with him since I met him years ago as a kid.
Diane Arbus is one of the most mysterious, enigmatic, and frighteningly daring artists of the 20th century. Her work emerged from a deeply private place and profoundly affected all those who came into contact with it.
I could jump, I was quick, I could catch and all those types of things, but when it came to just flat out speed, that's something I had to work really hard at.
But my manners also came from when I was in college and began participating in critiques. You have to speak with someone respectfully about their work and be honest and open, without hurting them.
I think one of the reasons Stephen King's stories work so well is that he places his stories in spooky old New England, where a lot of American folk legends came from.
So I moved to Europe and only came back when directors like Robert Altman would call me after they'd seen my work in Full Metal Jacket.
My parents always knew I was hopeless at everything else, I was fortunate in that I was backed all the way. I came to it late and only because I thought there'd be loads of women and drinking!
I could only try to comfort the women that I came face-to-face with. I was really moved by how much they wanted to talk, how much they needed to be comforted, and how happy they were that we were there.
I remember when the wave of Jennifer Lopez, Salma Hayek and these beautiful Hispanic women came into light, and I looked up to them and I loved them, but I was like, 'Where are Middle Eastern women?'
There's a whole generation of women who never really heard the word investment before, when it came to fashion. They've been buying things because they were cheap.
My mum was one of those people who really wasn't allowed to be an artist, because she worked in a factory and she came from the war and all that stuff. She really has an artist's soul.
That is what war is and dancing it is forward and back, when one is out walking one wants not to go back the way they came but in dancing and in war it is forward and back.
I worked night and day for twelve years to prevent the war, but I could not. The North was mad and blind, would not let us govern ourselves, and so the war came.
But it then very soon became clear that the response of a war against terrorism, initially conceived of in a metaphorical sense, began to be taken increasingly seriously and came to entail waging a real war.
Emancipation came to the colored race in America as a war measure. It was an act of military necessity. Manifestly it would have come without war, in the slower process of humanitarian reform and social enlightenment.
A memory came to me. One time, in middle school, a famous author came to talk to our class and give a writing workshop. One of the things she told us about writing a novel was that the story should be about what the main character wants. Dorothy want...
To this I replied, "I still think that my body is not merely a sensory appearance, for surely it came from my parents, who were its cause and condition." , "If you think that your body came from your father and mother, then what are the beginning and...
