When I left 'Coronation Street,' I wondered if I could ever be lucky enough to work with such a unanimously wonderful company of good people - and I've just come to that good bunch again.
I did go to public school, but that's only because my parents were abroad. As a matter of fact, I think that's helped my work. I can go from Victoria Wood's 'Dinnerladies' to playing Barbara Cartland, from 'Coronation Street' to playing Celia in Last 'Tango'.
I left 'Coronation Street' so I could spend more time with the kids because it was difficult getting a work life balance.
I've always been a fan of 'Coronation Street,' and the chance to work on it was just too good to miss, but it meant a great upheaval for my family.
I come from the corporate world, where everyone has a five-year plan, but performing arts doesn't work that way; you just kinda do the best job you can with the gig you've got.
The corporate world has the resources to improve the world. It's where people live and work.
We have started something called the Corporate Services Corps. Now, it was modeled after the Peace Corps from long ago, the 1960s. And the idea was in this modern day and age, how do you get IBM'ers around the world to be global citizens? You know, globally aware, contribute, understand how to work in that environment, but do it on scale.
Most of the energy of political work is devoted to correcting the effects of mismanagement of government.
Everyone who has succeeded in correcting their wrong should have the right to work.
Discover the times when you're most creative - mornings, nights, afternoons - and clear the time to work then. Many writers find the mornings are best, and the afternoons are only good for editorial corrections, or getting the washing done. Others can only work through the night, drunk.
Not a lot of people or pros in this game know how to train correctly. That's why they don't have a long career. Their body gets banged up. They get into a rhythm of heavy sparring and heavy work, but through that, they're limiting movement.
A franchise is dictated on the success of doing one film right, so if you can get it done correctly, you've got a chance of something else, but sometimes it just doesn't work that way. Ideally, it's insurance for the future; if you can do something, if you can find a character that people really do like, then you're very lucky.
There are some great songs - like, I really like 'Snowcone' and 'Whelk Then' and 'No Problem.' I think I'm dissatisfied that it's not written from start to finish; it's over a year's worth of work that doesn't correlate.
Generally, there's a correlation between good work and good reviews. In the very odd, very rare case that they say it's terrible, but actually you're a genius who is ahead of your time, you are going to just have to suffer.
I do not want to work to correspond to an image.
I don't know Dr. Rosenberg. I have never met her, I have never spoken or corresponded with this woman. And to my knowledge, she is ignorant of my work and background except in the very broadest of terms.
Unbeknown to me, my manager, under my very nose (in a crouching position) has all these years been secretly compiling a book from my correspondence. I often wondered what she was doing in my office. She never did a stroke of work for me. All the time, I have been working for her.
People often talk about parachute journalism, but one of the skills that you get when you are a correspondent is the ability to look at facts fast and work out what the story is.
Crowdsourcing aid is a cunning way to work around the do-nothing corridors of official Washington. But it also raises complicated questions about the nature of humanitarianism and what it means for a 'nation' to help.
While you're going through this process of trying to find the satisfaction in your work, pretend you feel satisfied. Tell yourself you had a good day. Walk through the corridors with a smile rather than a scowl. Your positive energy will radiate. If you act like you're having fun, you'll find you are having fun.
