All I can say is, I don't talk about the personal stuff. It's the one thing you can keep to yourself. At least you try to.
Great personal style is an extreme curiosity about yourself.
The act of writing is a way of tricking yourself into revealing something that you would never consciously put into the world. Sometimes I'm shocked by the deeply personal things I've put into books without realizing it.
Look after yourself, get rest, get a facial, get a hair treatment, eat really well, work out, get a personal trainer. And that's really the key: to take care of yourself and not burn out.
In every person, you have a world of personalities and souls, a world of perspectives that you can share. You can get into anyone's shoes. You've got to be willing to stare at the ugliest part of yourself and deal with it.
When you know you haven't been connecting with, persuading, or getting through to someone, consciously pause before meeting them and say to yourself, 'During this conversation, I am committing to being present and to connecting.'
I ask myself, 'Why can't a truck driver have the right to carry a gun?' Just think about it; put yourself in the shoes of a truck driver. He nods off at the petrol station... and when he wakes up the next day, his spare tyre has gone.
There's nothing I dislike more than being in a photo shoot where they say, 'Be yourself.' That's not why I became an actress. That's what I find so funny: that you become an actor, and all of a sudden, everyone wants to know about you. But I didn't become an actor so I could show you me.
Acting by yourself is pretty darn hard, especially having to do physical comedy.
You have to work with your body when you dance; you can't shy away from your physicality. For me, it's really linked to an incandescent way of accepting yourself and projecting. The dancing was at the core from the beginning.
You don't want to pigeonhole yourself.
My dad taught me to never be pigeonholed; to really allow yourself to reinvent characters as they reinvent you; to be bold and to be willing to play seemingly unlikeable people.
I think that's part of the battle of defining yourself as an artist. You're constantly fighting the pressure from outside to be pigeonholed and deliver more of what people already liked.
There are a lot of forms of exercise where you have to leave yourself out of the room while you force yourself to do this thing. With Pilates, I get to bring my true self. I cry, I laugh. I get to go, 'Where is my body today? What do I need today? How can I take care of myself and push myself past my comfort zone?'
By telling stories, you objectify your own experience. You separate it from yourself. You pin down certain truths.
Working with Sylvester Stallone is beyond a 'pinch yourself' moment. I remember growing up watching his films.
What are you going to do? Admit to yourself that the pitchers have you on the point of surrender? You can't do that. You must make yourself think that the pitchers are just as good as they always have been or just as bad.
Sometimes you have to throw 120 pitches to figure yourself out.
Revelations come when you're in the thick of it, pitting yourself up against something larger than yourself.
It's how you define yourself. It's not Nirvana or Pearl Jam: it's, 'Do you watch 'Portlandia' or 'Amy Schumer'?' It relates to a specific sense of humor. And, 'Do you know the hidden gems?' Like, if you knew the Pixies in the '80s.
