I have a list in my mind and in my heart of actors who have been extraordinarily kind, and Hugh Laurie is near the top.
Actually, I used to be a busboy in a strip joint in New York and so I hate strip joints. I'm not that kind of person.
The designers, photographers and models I work with, they are really hard-working people who are devoting their lives to fashion. They're kind of like nuns of fashion.
The very first lead work that I made is called 'Land Sea and Air,' and is the enclosure of primal elements within that kind of carapace of lead.
You know, I've kind of been lucky enough to always work with established actors or big names or people that are really popular or infamous for doing what they do and doing it well, I guess.
I think probably, the makeup artists don't really know how long it's going to take until they really work with your face and they kind of mold it and build it as they're going along.
I don't like it when people ask actors to work for free - on the fringe - as if it's some kind of virtue. That annoys me - actors should be paid well.
As an actor, I like to get a bit of momentum going with a character and kind of work a bit quicker. I mean, not crazy-fast, but, you know, five or six pages a day is a nice pace.
I kind of always think my work is unfilmable, and when I meet people who are interested in filming it, I'm always stunned.
I work with gang members, and I feel a kind of affinity and gift, even. But who would've thunk it, you know? I mean, I didn't anticipate it.
The downside of being a celebrity is that people kind of know about you, and you really don't need them to know about you - you need them to know about your work.
The whole thing about the way I approach work is to be surprised by an opportunity when it comes up. So I have no idea what I will be doing next, and I kind of like that.
I began after college, about 1972. I began to teach myself photography. I went to work for a local newspaper for four years as a kind of basic training.
But a lot of that kind of work is done pre-flight, coordinating efforts with the flight directors and the ground teams, and figuring out how you're going to operate together.
Being isolated and on-location can be helpful in terms of being completely dedicated to the work, but somebody like me can also be dangerous in terms of this intense sort of void that you kind of potentially fall into.
Above and beyond drawing my creations, I try to incorporate some kind of message. I try not to end as merely a question but try to provide a conclusion within the work.
I'm very impressed that there are so many fans - not just in Japan, but here in America - that are fond of the work that I've done. I'm actually kind of embarrassed by it all.
I always thought that putting tons of reverb on my voice was kind of the equivalent of airbrushing. And I wanted other girls and women to hear a real female voice that wasn't completely manipulated.
And what I saw happening is that women don't make one decision to leave the workforce. They makes lots of little decisions really far in advance that kind of inevitably lead them there.
There are real-world, devastating consequences for disabled women marginalised by the kinds of attitudes that deny them full agency over what happens to their bodies.
We citizens don't need to know every detail of every military operation in this new kind of war. Nor should the media tell us and hence our enemy.
