I really felt that I had to stay level, I had to control, I had to know what I was eating, I had to know what I was doing, I had to work out. All that stuff is very powerful and it really helps, but now I don't do it out of survival. At first, I was just trying to survive. I assumed at some point I'd be screwed otherwise.

I'm really excited to act again because when I started out, there was an innocent sort of perception of the world that was coming though me, and I think now through a lot of experience and life and understanding, I've come full circle to having a purer response to things. So my craft will be really interesting to work from this place because I think acting is about being in tune with yourself - or maybe the struggle to be in tune with yourself.

Manhattan, though, was an entirely different ballgame in a whole different kind of world, with a man who was brilliant and at the same time terribly charismatic.

I believe that everybody comes from pain and a certain amount of dysfunction.

When child actors act well they're just reacting to situations, and they're acting very real because their life experience is so short; there's no history to fall back on.

The experience of getting my Kriya, which is the meditation process that I do, was very powerful for me - though, as I explain in the book, I was really suspect of that kind of thing.

The 'Hemingway curse' was such a huge, awful thing for me to have to deal with. . . . The reality is, because there are genetic tendencies toward mental illness, you need to be aware of them.