There were some things that I found I really enjoyed singing about; like, on the title track, there's this film-noir character of a woman who's sort of losing it in a room.
It doesn't do any good to say, 'This is what it means.' When you are spoon fed a film, people instantly know what it is. I like films that leave room to dream.
It's absolutely fine to think of new ways of doing things, and I'm not just asking for the traditional reporter to look into our living rooms night after night.
It's much more fun to be the person who comes into the room and lights the match. I get to be the force, the girl who always says or does something completely outrageous, and leaves everyone thinking, 'What was that?'
Nobody likes the "A" word, but everyone ages. You can have an aging in place master suite that looks like a resort hotel, rather than a rehab hospital room.
I used to live in a room full of mirrors; all I could see was me. I take my spirit and I crash my mirrors, now the whole world is here for me to see.
The thing is, if you believe in the unconscious - and I do - there's room for all kinds of possibilities that I don't know how you prove one way or another.
Ours is not a poor country and even though we are now a poor people, there should be no room for the despondency that has settled on large sections of the population.
I grew up in Beaufort, South Carolina, in a six-room farmhouse with a couple of leaning posts to keep it from fallin'. I came up in a time when men were men.
People equate sexy with promiscuous. They think that because I'm shaped this way, I must be scandalous - like running around and bringing men into my hotel room. But it's just the opposite.
Ordell Robbie: AK-47. The very best there is. When you absolutely, positively got to kill every motherfucker in the room, accept no substitutes.
My first novel, 'Man Walks Into a Room,' is about a man who's lost his memory and has to start a second life. On one level, it's about how we create a coherent sense of self.
I love theater. I love the idea that you can transform, become somebody else, and look at life with a completely new perspective. I love the idea that people will sit in one room for a couple of hours and listen.
What surprised me about the Oscars was how familiar it was - because you're in the room with all these people that have inspired you from your childhood to adulthood in the film industry. It feels like you've known them all of your life.
In a rehearsal room, your real resource as an actor aren't the things around you; your resources are your imagination and your director and the other actors. In those close quarters, your imagination and your skills are what you turn to.
Don't worry about the room being messy! Everything can't be perfect - you have to let some things go, and it's better to actually sit down on the floor with your child than spend time worrying about having a perfect house.
Obviously, when you walk into a room and see people like Ashley Judd and Morgan Freeman and Charles Martin Smith behind the camera, it's big time. You just try not to think about it, try and keep up, hold on for the ride.
As I'm always fond of telling hosts at the Oscars who are doing it for their first time, for everybody who wins, there are four people who don't. As the evening wears on, the room fills up with losers, and then they are bitter.
It gets very tiring when you are filming and then taken to a room to do school work. I never get any rest time. It is either work or school. Once you are an adult, you get to take a nap in between shots.
You have to get the casting right. You have to get the people behind it. Your director might not be the right director for the project. And then, it has to test and those people in that room, wherever they are, have to turn those buttons the right wa...
In the early 1970s. 1971, '72. The rooms were closing down, record labels weren't signing acoustic acts any more. Although they had been pretty much been getting out of that for some time before that.
