I didn't leave bodybuilding until I felt that I had gone as far as I could go. It will be the same with my film career. When I feel the time is right, I will then consider public service. I feel that the highest honor comes from serving people and your country.
People can say whatever they want about the sport of bodybuilding, but to get prepared to do a contest or even think about doing a contest, or even to get into decent shape, it requires a certain amount of discipline, and it comes from taking a new year's resolution to a lifestyle.
The problem I see with most contests is that the people judging have never competed in a bodybuilding contest. I feel that to have the knowledge necessary to judge a bodybuilding competition, you must have walked in those shoes.
I don't want people following me around, everywhere I go, people talking to me and stuff. I don't want to be walking down the street with a bodyguard. I don't think that will be an issue playing in L.A.
I used to bodyguard for some celebrities and other people, and when I wasn't doing that, I used to work at a disco as a doorman or a bouncer.
I don't have people following me around, like bodyguards. I don't know how people live like that. Maybe the young movie stars have to live like that, I don't know. But it seems a little crazy to me. I don't think you need all that stuff.
I hear that from so many different governments, people coming to me and saying, 'You should be careful'. But I don't want to go around with bodyguards.
I'm not a person who comes with bodyguards. I'm a simple jhola-kurta kind of girl. So people treat me as a buddy.
Young people, even in Hollywood, ask me, 'Were you really married to Humphrey Bogart?' 'Well, yes, I think I was,' I reply.
I made so many films which were more important, but the only one people ever want to talk about is that one with Bogart.
It's a younger generation running the show, and I miss the generation we had in the '70s. They were really very honorable guys, like Neal Bogart and Bill Graham, people who will never be around again.
I've tried not to get too bogged down by what people want you to be.
I'm not a natural researcher, and I don't get bogged down in it, but I think if you get it right in the first half, people will forgive you, and then you can move on with the story.
When you're working with people you've seen in hundreds of films... it's a bit crazy to step outside yourself for a minute and think, 'This is surreal.' But I try not to get too bogged down in that.
All they need to do is to set up some website somewhere selling some bogus product at twenty percent of the normal market prices and people are going to be tricked into providing their credit card numbers.
I try not to write songs in which men glamorize their own need for approval from women. That's kinda a bogus way to go out. But I try to do this quietly. I'm not about to go around telling people how they should or shouldn't think. My feminism is for me.
The Upper Bohemia people wore tuxedos in an art gallery, and Lower Bohemia was all of us.
The thing that will never go away is that connection you make with a band or a song where you're moved by the fact that it's real people making music. You make that human connection with a song like 'Let It Be' or 'Long and Winding Road' or a song like 'Bohemian Rhapsody' or 'Roxanne,' any of those songs. They sound like people making music.
I always go back to how people behave. If you watch how people actually behave in a situation, it's very simple and honest and contained. You don't need to use as much expression, as much feeling. Some characters will boil over, and that's another thing, but a lot of times I think you can just do very, very little.
You just don't know when you get in the editing room what you will need as a link or a tool for a transition. If you're in a room, and there's a kettle boiling, get a shot of it. Don't worry if people think you're nuts.
