I was caught in a private cycle of sadness and the only conceivable relief I could find was in the telling.

It's not refreshing where there is confusion or any kind of discomfort in a group that has to work that closely together.

I think the chemistry on the Orange set is extraordinary and I’m going to risk and say this: I think by virtue of the fact that there are not so many men, we are free to be absolutely authentic. There is a lot of freedom and trust.

I've done a lot of television in life, and I don't remember the last time that I felt so consistently happy [working with Jenji Kohan].

The elegance and the quality - the talent is always in the literature. I start with the word and I base everything on that. It doesn't make any difference to me.

I was caught in a private cycle of sadness and the only conceivable relief I could find was in the telling.

Life's so brief,” she goes on. “We're, at every juncture, staring mortality in the face. It's the very least we can do if we think it will be of any interest or value, to share the past. And although mine's been crooked, it's also been splendid. It's taught me to be vulnerable and humble, to write this book.