For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it. ↗
And I realized, when I'd come in to the meetings with these corrugated metal and chain link stuff, and people would just look at me like I'd just landed from Mars. But I couldn't do anything else. That was my response to the people and the time. ↗
Liquid architecture. It's like jazz - you improvise, you work together, you play off each other, you make something, they make something. And I think it's a way of - for me, it's a way of trying to understand the city, and what might happen in the city. ↗
The recognition that things that are not sustainable will eventually come to an end does not give us much of a guide to whether the transition will be calm or exciting. ↗
I think we're not going to preserve Fannie and Freddie in anything like their current form. We're going to have to bring fundamental change to that market. ↗
Ultimately you want to do something in life that people will remember. And with Buffy, I did that. I don't feel like I need to achieve something. I just do it because it's fun. And that takes the pressure off. ↗
Being an actor gives you a chance to play all kinds of roles, very moving and dramatic on one project, silly and girlish on another. That's the most interesting thing out this business, you get to keep reinventing yourself. ↗
I also think it was important for me and Freddie to be able to have a lot of time to share our lives at the beginning of our marriage rather than my coming home at 9 or 10 at night from the set. Things have really worked out for the best for both of us. ↗
