I grew up in an upper-middle-class town with a population around 12,000. My high school held around a thousand kids. All smart. We had a strict dress code. If you wore blue jeans to school, they sent you home.
My sisters both are working mothers. I understand that my being an actress as well as being at home isn't some heroic thing. That doesn't mean it isn't confusing or difficult - especially that question of how you find a balance.
And now, I still really don't care that much but now I have music playing all the time at home, which is a first for me. Whatever. Everything from Ani DiFranco to Dave Matthews to Jack Johnson and Norah Jones.
We spoke French at home and I didn't know any English until I went to school. My mother was French and met my father when he visited France as a student on a teaching placement.
I'm trying to eliminate every vestige of my own personality, style, approach and get into somebody else's skin. Sometimes I feel I've accomplished it. But when I don't, I'm nobody at all, having left myself at home.
My guitar playing has not developed as much as I think it could because I never practice. I only play when I'm writing or recording or when I'm playing on tour. When I'm sitting around at home, I never play.
I make it a point to go home every weekend so I can meet with Georgians and hear from them directly.
I have this idyllic love life, but my mind just won't accept that. I would like to bring a new guy home every night. I try to make humor out of that situation.
No matter what happens in a child's home, no matter what other social and economic factors may impede a child, there's no question in my mind that a first-rate school can transform almost everything.
The only place I've felt was really my home is my cabin up north. There's something in the water there that connects me to that place. There's also this sense of isolation and loneliness about it that I've never been able to shake.
When you try to do something bigger and more grandiose, a lot of times it's more apt to fall apart. It's a lot easier to lay down a bunch of singles than it is to get a home run.
I can't imagine doing an hour-long dramatic series because it's so much work. A sitcom is a wonderful gig. You work from 10 to 4 every day, it's fun, and you get to live at home.
We all have times when we go home at night and pull out our hair and feel misunderstood and lonely and like we're falling. I think the brain is such that there is always going to be something missing.
One SF prediction that I would like very much to see: Get solar collectors launched to beam energy back home, and get away from fossil fuels.
When you are a hero you are always running to save someone, sweating, worried and guilty. When you are a villain you are just lurking in the shadows waiting for the hero to pass by. Then you pop them in the head and go home... piece of cake.
I try to acknowledge both the sacred and the silly in my work. That goes for the live show as well. If I find myself in my head or dwelling in seriousness, I think of my friends back home and how they'd be laughing at me.
I don't take much from my own father, because he was a very austere, quiet, private man who would come home from work, go to his parlour and play Beethoven on his piano.
In L.A., my house is surrounded by churches, and there are no cars, so it's really nice to just walk around before I go home to check my emails from Spain, which have been coming in all night.
For many years, it seemed as if nothing changed in Norway. You could leave the country for three months, travel the world, through coups d'etat, assassinations, famines, massacres and tsunamis, and come home to find that the only new thing in the new...
My parents were the same in the pulpit as they were at home. I think that's where a lot of preachers' kids get off base sometimes. Because they don't see the same things at both places.
The truth is, working on single camera, show or film, you have no life. You work 60-80 hours a week. You're up before your kid gets up, and you're home when they go to sleep.
