[from trailer] Mac MacGuff: [a very pregnant Juno enters the room] Hey there, big puffy version of Junebug!
Mark Loring: Why does everyone think yellow is gender neutral? I never knew a guy with a yellow room.
I have a lot of plants and fish and a pet lizard and Venus flytraps. I have a whole ecosystem in my room, like a running waterfall and different lights and sensors set on digital timers.
Ghost stories really scare me. I have such a big imagination that after I watch a horror movie like 'The Grudge', I look in the corners of my room for the next two days.
Any time you get two people in a room who disagree about anything, the time of day, there is a scene to be written. That's what I look for.
At the beginning of my acting career, I worked for two seasons at the RSC and spent a lot of time in the Cotswolds exploring Shakespeare's countryside. It's my kind of English landscape, with its tiny villages and one-room thatched pubs.
If you spend all your time reading books that you only pretend to understand, year after year, there isn't much room for anything else.
I actually had a job while I was acting and was a nursing student, which I had to drop due to my 9-5 job at the time. I managed an instrument room at a hospital in the Bronx.
I lay in my dressing room after being in make-up waiting to go on. They knew I was feeling pretty rotten and they tried to give me time to rest. But I couldn't sleep. I couldn't do anything.
I take a very practical view of raising children. I put a sign in each of their rooms: 'Checkout Time is 18 years.'
When you're doing a pilot, you're doing it in this bubble that almost works against the creative impulse. You don't have time to get to know the actors first, and you have three writers, as opposed to a room full of writers.
By the time you get to your sixth record, some of the benefits of being in a band are grander than ever, but some of the obstacles are just massive. You deal with these lateral subjects, and all that is left is the elephant in the room.
The thing with sculpture is, 90% of the time, when I pass a piece of sculpture, it's in public or somewhere, and it's just, how inconvenient that that's there. It takes up so much room, and it's so oppressive.
When you're writing a story in bits and pieces, month in and month out, there really isn't time or space for reflection, no room to learn what those scripts had to teach you.
And when I went to Houston, they had a conditioning coach by the name of Gene Coleman. And that was the first time I had gone to an organization that had a program with a weight room and designed specifically for pitchers.
Each guy has his own space. We all end up in one of the other guy's rooms all the time. We always end up together, as far as people getting along.
The different parts of my career seemed to take part in different rooms, albeit in the same house. It was just the way things were and I didn't actually think much about it at the time.
One time Robert Plant was set to check into the same room after I checked out, so I removed every light bulb and ordered up a bunch of stinky cheese and put it under the mattress.
I can tell you where I was when Kennedy was shot - which was in the common room at school. I heard about it on the old valve radio. At the time of Armstrong's landing, I was at university rehearsing a play.
I have Vie Luxe candles in every room. In 2006 I spent the month of August in Sardinia, and the scent reminds me of the wonderful time we had.
What I remember most about working on 'Sesame Street' is having fun in the green room with the other kids while waiting for my time to go on camera to work with the puppets.
