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She couldn't survey the wreck of the world with an air of casual unconcern.
An English village could never be mistaken for an American one: the outline against the sky differs; a thatched cottage makes a very wavy line on the blue above.
Just to have the confidence to say, "Which end of that spectrum am I usually on?" That's been very helpful to me. Because it's a really awkward setting.
I grew up as an only child. I think it might just be that my dad really didn't care that I was a girl. "You're gonna do certain things 'cause I want you to, and that's the way it is."
Some period of time later you look up and say, "That concern was right on the mark; it happened exactly as I thought it would." So that's been really helpful to recognize.
Our avian brothers are back to roost on the first leg of their annual sojourn south. Why them and not us? Maybe it's because we humans are meant to be rooted in one spot.
They say to just write about what's happening in your backyard because that's where you find the most creativity. It's in the DNA of the show. There's no question.
Character is what someone does, much more than who they are. I can be sarcastic or I can be fearful, but it doesn't really matter until there's a story - until someone comes in and holds us hostage.
For the most part you are dealing with jealousy, you are dealing with love, you're dealing with hatred, you are dealing with revenge and all of these sort of classic things.
I remember being asked when I was in high school what do I want to do when I grow up and the answer is so indicative - I would like to have been a successful playwright.
I think everybody wants to be loved, all the time, but it's not realistic. It's also not realistic, if you're going to be ambitious, in terms of changing the form or evolving.
First of all, there is absolutely an order that we have put together to create the maximum number of surprises, but that's just part of our storytelling.