My first car was in 2006 when I got on my first TV show - a BMW 328i2 four-door sedan in slate grey. That was a great day, that was.
I feel very warm towards Mum and Dad for giving us the independence they did. My childhood, and the fact we didn't have a TV, gave me a boundless imagination.
I never really saw my dad as entertained as when he was just completely blown away by somebody on the television screen or at the movies. I think that's the real reason that I went into acting.
I was addicted to the original 'Star Trek' when I was growing up, because of my dad. We grew up in St. Helens, Oregon and we weren't allowed to watch a lot of TV.
I can be a rock star with a television show and still have a self-esteem problem. So it's nice to have your dad go, 'Hey Melissa, I'm proud of you - you're doing good.'
It's funny: All my friends back home are always wondering why every television show I'm on is a drama, but all the comedy pilots I did died a slow and painful death.
First and foremost, I'm a decorator and product designer. Everything I do, the television shows, the books, that comes from the design work. It's what I love.
If the education of our kids comes from radio, television, newspapers - if that's where they get most of their knowledge from, and not from the schools, then the powers that be are definitely in charge, because they own all those outlets.
TV and film taught me to think cinematically. Teaching others to edit, for example, provides a great deal of insight into the millions of ways in which given elements can be put together to tell a story.
That's what's so great about television. You're able to tell this long story, where you couldn't really do that in a film because you have to tell a story in an hour and a half or two hours.
All institutions have lapses, even great ones, especially by individual rogue employees - famously in recent years at 'The Washington Post,' 'The New York Times,' and the three original TV networks.
I love TV, don't get me wrong. But with film, you're just banging out this one product and you're not waiting on another script. You have your script. It's great, in that way.
What's great in theater is that you can sustain the arc of a character for a full three hours, whereas in film or TV, you have to create that arc in little pieces, and usually out of sequence.
There's a million leading men on TV today that are perfectly great, and their jobs are fantastic. But it's not as interesting to me when every fight they win, every case they solve, every girl they get.
When I was in Pulp, I actively did more TV stuff because that was during the Great Britpop Wars, and it seemed important to prove that indie people could speak. That war doesn't exist anymore.
For me, there's nothing that beats playing. When I'm not playing, I'll watch games on the television, watch stuff on You Tube, everything. I just live for football, love watching great players.
I'm 100% proud of the TV work I achieved. The work I did on shows on insects and Great White sharks... stuff that's in school curriculums in England. Now they are showing up on Discovery Channel.
I had a great time on News Radio, I got to make tons of money in relative obscurity and learn a lot about the TV biz and work on my standup act constantly. It was a dream gig.
The great thing about TV is that it's so fluid. When you bring in someone for one quick role and they're fantastic, you can bring them back.
I think if you look back at all those great comedies on television in the past, it's all lovable losers that gathered together - 'Taxi' and 'Cheers,' 'Seinfeld' and 'Friends.'
Films and television and even comic books are churning out vast quantities of fictional narratives, and the public continues to swallow them up with great passion. That is because human beings need stories.
