I really enjoy being able to spend my time doing different charitable and philanthropic activities.
As I see it, most major philanthropists have been bullied into giving. They feel social pressure to give. It has become a cost of doing business.
Philosophically, I don't like doing commercials.
I enjoy doing fashion shows and transforming myself into different looks for photo shoots.
I am blessed to be doing what I do. So if I have to be at a photo shoot, do an interview, or make a TV appearance, I am not going to sit around whining and complaining about how I don't want to get up early or I don't feel like talking.
I really love working with my sisters, doing photo shoots with my sisters and appearances all together.
I hate doing photo shoots.
When I first started doing comedy years ago, I used to be the biggest Michael Richards fan. I used to love this dude. He was on a TV show called 'Fridays,' and man, he was tall and lanky - and I was tall and lanky. I love physical comedy, and he was a physical comedian, and I said, 'Man, I love this guy.'
It's a great counter to doing the soap because it's a comedy. It's real physical comedy.
As a young pianist in Hollywood, I began orchestrating for others, and I just felt really comfortable doing that.
I took a few piano lessons as a kid, but it didn't last; I just learned piano from doing it over and over on my own, because I didn't have many friends, and there was always a keyboard in the house.
In my son's kindergarten, they're telling us how to get him into Stanford. By their advice, I'm doing everything wrong, because I'm trying to make him happy rather than putting him through as many piano lessons as possible.
When Seymour saw me seated at the piano at that first rehearsal, he shouted: 'What's that kid doing here? Call your piano player and let's get started.'
We judge people in areas where we're vulnerable to shame, especially picking folks who are doing worse than we're doing.
I hadn't thought specifically about doing graphic novels until a couple of my friends got contracts for them. Then I started picturing how various of my stories or poems would work in an illustrated format and thinking how cool that would be.
But the question is a matter of the survival and the teaching. That's what our work comes down to. No matter where we key into it, it's the same work, just different pieces of ourselves doing it.
I felt the most intense pleasure in piercing the stone in order to make an abstract form and space; quite a different sensation from that of doing it for the purpose of realism.
It was different to what everyone else was doing. It was very hard to pigeonhole The Cranberries. And we were just huge; it was just sensational.
It's beyond my control who's going to cast me or how you're going to pigeonholed, so for me, it's just I want to keep doing different things because I want to get better, so hopefully I'll be hired to do them.
You can watch actors create their illusions, but if you don't see where they get the pigeons from, you don't really know how they're doing it.
