Both back when I was acting and now that I'm writing, I've always wanted the same thing out of my career: to be able to get up in the morning and do what I love doing.

I used to think I sewed us together at the edges with my own hands, pulled the stitches tight and I could unpick them any time I wanted. Now I think it always ran deeper than that and farther, underground; out of sight and way beyond my control.

A bore or an uggo might manage not to get up anyone's nose, but if a girl's got brains and looks and personality, she's going to piss someone off, somewhere along the way.

I am not good at noticing when I'm happy, except in retrospect. My gift, or fatal flaw, is for nostalgia. I have sometimes been accused of demanding perfection, of rejecting heart's desires as soon as I get close enough that the mysterious impressionistic gloss disperses into plain solid dots, but the truth is less simplistic than that. I know very well that perfection is made up of frayed, off-struck mundanities. I suppose you could say my real weakness is a kind of long-sightedness: usually it is only at a distance, and much too late, that I can see the pattern.

My father told me once that the most important thing every man should know is what he would die for.

Some people should never meet.

What I am telling you, before you begin my story, is this -- two things: I crave truth. And I lie.