I think my stubbornness, hardheadedness and stupidity is what has allowed me to play for 20 years.
I suppose you could say there is an in-built stubbornness to me.
My stubbornness helped me for the first half of my career; I had that real determination to do it my way - I know the best way. That helped me from a 14-year-old to 25 in getting me to where I got to.
So to me, Texas Hold 'em puts me to sleep. At least when you play stud, you can be funny as you deal. Somebody some day is going to come up with a Stud show that's going to work.
The student body was huge at UT and you had to mature pretty quick, very quick actually. I enjoyed it and it helped me a lot in my life in general - not only in the classroom but on the baseball field as well.
I was in the drama club, and I was one of seven co-presidents of the student body. Students elected me - I don't know why!
I was in the drama club, and I was one of seven co-presidents of the student body. Students elected me; I don't know why! There were only 330 kids in my high school, though, so it wasn't a lot of kids to impress or reign over.
'Breathe In' was such a big deal for me. It was my first anything. Before that, I was going through 'Backstage Magazine' and applying for student films.
I started in theatre when I was a teenager, and I sort of fell into screen acting by accident because I had friends who were at university studying how to be filmmakers, and they didn't have to pay me to be in their student films.
I think my mom and dad both wanted to get across to me that... I obviously grew up with great privilege and was very lucky and was able to afford college and not have student loans, and they would pay for college, but beyond that, it would be up to me to make a living.
When I'm 40 and nobody wants to see me in a sparkly dress anymore, I'll be like: 'Cool, I'll just go in the studio and write songs for kids.'
It kind of irks me that the studio films still have to be so safe even though they don't really cost as much to make.
What's disheartening for me and to all of us in GLAAD is when it comes to major studio films, LGBT people are basically invisible. And when we do show up, it's largely a part of comedies as carictatures to service a joke that's at the expense of the character.
Yes, you want to do studio movies, but I also want to grow as an actor, and an actress like me is not going to get roles where you grow and evolve in a studio film. It's just not gonna happen.
I want to make big movies - but I don't want to have to die a little death every single time I do. Until I meet the people or the studio or the business people who will let me do things a little bit more the way that I need to do them, I probably shouldn't be making big studio movies.
I'm trying to work in studio movies, but they won't hire me.
I was at the end of the studio system so when I walked into movies, I had a magnificent suite in which I had a living room and a kitchen and a complete makeup room. I had everything just for me. With the independents, you're kind of roughing it, literally.
As much pains were taken to make me idle as were ever taken to make me studious.
My father came from an intellectual and studious avenue as opposed to a brawler's avenue. So I had to go further afield and I brought all kinds of unscrupulous oiks back home - earless, toothless vagabonds - to teach me the arts of the old bagarre.
Throughout elementary and middle school, I was used to hearing other words: Smart. Studious. Well-spoken. Well-read. They became pillars of my self-confidence, enabling me to build myself up on what I contributed rather than what I looked like.
