Before turning pro, I would never have just left my skates sitting in the locker room unattended.
It become totally untenable to me that after acting for 25 years - I've played Juliet, Cleopatra and Anne Frank - there I was, sitting in Hollywood, just waiting for somebody to want me.
My philosophy is that if I have any money I invest it in new ventures and not have it sitting around.
I've always had rock star envy. Unfortunately, writing is a pedestrian, tame occupation done while sitting in coffee-stained pajamas in front of a computer rather than prowling around a huge stage in sweaty leather pants, so I have to get my kicks vicariously.
I have my whole office set-up at waist level; I don't sit at all during the day. Sitting, to me, is the devil.
My general working style is to write everything first with pencil and paper, sitting beside a big wastebasket. Then I use Emacs to enter the text into my machine.
I found the hedge-fund guys I met all to be very, very concentrated listeners - watchful and articulate and quick to defend, if needed. They all seemed to have this contained sitting posture. The legs, if they weren't crossed at right angles, tended to be close over the knee, their hands put together.
I've only got one wrinkle, and I'm sitting on it.
I have my own office, and I'm there during the evenings and weekends. But during the week, I'm sitting in the middle of my studio, talking with everybody, deciding together every detail, every pallette, every yarn, every colour.