After spending two months in France where the air is great, I genuinely noticed how ill I felt returning to Los Angeles. The way we're going, if they keep building and building, there will be no space any more.
As I get older, I just prefer to knit.
As you get older, you realize it's work. It's that fine line between love and companionship. But passionate love? I'd love to know how to make that last.
Did you know David Letterman was offered millions of dollars to do a commercial for dog food?
Every character I do is based on someone I know.
Every piece is so different. Some start out as just characters, but turn into something completely the opposite. There's a workshop feel about the show.
How I perceive actors getting involved in politics and charities... they want even more attention for themselves, it's in their nature.
I don't get very involved in the L.A. scene. When you do get invited out, you are expected to be on all the time. It's just wearying.
I don't think I'm mature enough.
I had no experience with kids. I had no small brothers or sisters. I had to learn what to do with them. I had no idea when they walked, when they talked, when they got teeth.
I had no idea I'd be doing this because of my embarrassment with saying I'm an actress. I don't like actors, especially in this town, where everyone just wants to be looked at.
I hate clowns.
I hope I never get so hard up I have to do advertisements. I've gotten ridiculous offers.
I left school at 16 and went to Berlin and danced.
I like going to France, because no one knows who I am.
I like infomercials.
I love John Waters. There's stuff in it that's beyond the boundaries of my taste, but his movies have always been like that.
I love my H.R.H. character. But I never got it. Why do we pay these people millions of pounds to be better than us?
I loved the late Gilda Radner. I love Carol Burnett and Lily Tomlin.
I never wanted to do political satire because it seems too surface to me.
I think serial monogamy says it all.
I thought it would be easy to write this book. But finding the way to make this book funny on the page was a challenge. Sometimes books are too dense to be comedic.
I used to dress up and impersonate our next-door neighbor, Miss Cox. She wore rubber boots, a wool hat, and her nose always dripped.
I used to sit and talk to myself in the mirror and pretend that I was a woman whose husband was in prison and who had three kids and no money.
I want more children, and perhaps I'll realize what it is I'm good at. I don't know if that will be a good or bad thing.
I want to do a piece on three girls in their 30s who can't find guys. It's not from personal experience, but it's from friends, it's based on reality.
I wish I could believe that one person could make a difference.
I worked with Paul McCartney for a while and saw what it does to you to be treated like a god for twenty years.
I'm as famous as I want to be.
I'm just not into talking about myself personally.
I'm not a crazy, party-going sort of person.
I'm not making fun of these characters, and I'm not being mean about them. I'm just celebrating them.
I'm still that little girl who lisped and sat in the back of the car and threw vegetables at the back of her head when we drove home from the market. That never goes.
I'm usually put off by performers when they get political.
I'm very happy being at home with my family. I come home, I get in bed at nine o'clock, and I read.
I've never looked ahead very much in my life. I've never had any grand plan from the outset. I had no burning ambition to do what I do.
It ended up being lovely adapting the show into book form. I did enjoy doing it.
It makes you more open, it gives you perspective, having a child.
It's funny - if you impersonate somebody, they have no idea it's them.
It's sometimes shocking to find out what people really believe in.
It's the poignancy and sadness in things that gets to me.
Maybe when I'm 75 and living in the south of France, after everyone I want to bitch about is already dead, then I may want to talk about my life in Hollywood.
My daughter Mable has really helped. It's good to not just think about myself all the time.
My father died when I was 6 and we were really sad, so I put on a show for my mum. Looking back now, it was a kind of therapy.
My influences were Peter Sellers and the great British character actors.
The dancer who goes on without any knickers, that was from a personal experience. That was Benny Hill type humor.
The show I did in England catered to a broad range of people. I like that. I don't want nouveau cult status, though I know we've got that sort of audience in the states.
There are different types of love, and my love for my child is like me and my mum. We've gone through a lot of rocky patches, but we never stop loving.
We do a bit with the yuppie couple, the me generation. But we do it because it touches us.
We need to cast twelve 14-year-old girls, which in itself is a task, and that's just one of the pieces, just one segment. Sometimes the show is a mammoth task and I don't know how we'll get through it.
We never wanted to do parodies. It's been done.
We're not here to laugh at people.
We've done a lot of pokes in the ribs, a lot of black, bleak endings.
What I fear most is that you will know where the laughs are going to come, or that you will know a character so well that you know when they're going to sing a song.
Why does everyone think the future is space helmets, silver foil, and talking like computers, like a bad episode of Star Trek?
Work is important to me. I want to do things for principle, not just for the sake of doing them.
You become so encapsulated in this world of being a star. People listen to what you say, you have this voice, it becomes unreal and you become far removed from the people you came from.
Allan McKeown (1983 - present) 2 children
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