When the characters are really alive before their author, the latter does nothing but follow them in their action, in their words, in the situations which they suggest to him.

It's so irritating, because male rappers don't have to have a look. A guy can look like a bum on the street, but as a male, people will accept him because he's a rapper. But females, they expect you to have a big booty. They expect you to walk in six-inch heels.

May the friends of America rejoice! May her enemies be humbled and her censors silenced at the news of her noble exertions in continuance of those principles which have placed her so high in the annals of history and among the nations of the earth.

I don't know anyone actually who does care what a critic says.

A sitcom. I hate that word.

In this business, you never say no to anything.

Bad excuses are worse than none.

I employ case studies of failure into my courses, emphasizing that they teach us much more than studies of success. It is not that success stories cannot serve as models of good design or as exemplars of creative engineering. They can do that, but they cannot teach us how close to failure they are.

I find that I am much slower in the beginning of a book. I am thinking of the plot, of the characters and who they are, and where they are going. I often throw out a lot of the writing I start with, because the characters and plot improve as I write. Or perhaps I should say it is my hope they will improve as I write.

My mother always tells me that when I was a little kid, my first ambition was to be a truck driver, and after that, I went through everything from wanting to be a Prime Minister to an air hostess, but never an actor. So I became one, and it was a great journey. I learnt a lot, worked very hard.

I met my boyfriend, a pro poker player, at a tournament. He tried to dissuade me because it's a seedy gritty world. Listen, I've played till 4 in the morning. I've played with a half million dollars on the table.