Quotes About Engagement

If you're not doing something or saying something in comedy, the camera is going to go somewhere else.

I wanted to be completely and totally entrenched, immersed in this football life, this culture all the way, so you don't even have a thought, an inkling, that my mind is somewhere else.

When my son Nandan was in middle school, I had a fun way of doing his maths homework. I bought another set of mathematics books and both of us would sit side by side and start solving problems.

My son is old enough to respond to my work. To me, that's what it is all about.

After I had my son, Max, I knew I wanted to get involved in causes that help children.

I try to get them working. My older son is 10 and he's pretty interested. We had a dinner party the other night and he helped a lot. He helped peel asparagus; he hung out. It was great.

One of the reasons why when Elvis dies or the Son of Sam is captured ABC News' ratings go up is because people who don't normally watch news are watching then. The question is, do you want to attract people who don't watch network news or fight over the people who do?

I must confess that I'm not a great reader. At the moment I'm reading my son's 'Stig of the Dump' by Clive King and I've got a plant catalogue on the go.

As the mother of a son with disabilities, I try to keep an eye out for news that affects people in the large community of which he is a part.

Learning great works like the Liszt Sonata or Beethoven's 'Hammerklavier' should be a struggle to a certain extent, where you need to labor intensely with your own brain and soul for the meaning of the work instead of cutting and pasting a bunch of stuff together from the Internet and - boom! - there you are with a performance ready to go.

It's not enough to play a song: you have to inhabit it.

It does feel really good when you play a new song, and it's the loudest singalong of the night. It means just as much when we're playing the old songs, and people are singing along to those, too.

I think a show is more of an interacting with fans than you just singing songs.

It's great to be able to get up there now and do an hour or 75 minutes of songs they're familiar with.

It's challenging to open for someone: You've got to prep the audience, get them in the mood, and get their attention if they don't know you. You're going to show them what songs you've got. You've got to leave your mark.

When people hear you singing songs which are done as playback, they don't see you. But when you perform live, they expect you to be interacting with them.

My songwriting is like extending a hand to the listener.

For the most part, the real work is done in the songwriting stage and recording; the next step is presenting to people.

In the normal course of things, journalists want their story, and as soon as they are through with it, they pack their cameras and go. That was never the impression that David Astor gave when you were interviewed by him. It was far deeper than that.

I don't like, and I've never been very good at, close-up shots. As soon as you have the camera right there in front of you, it feels like you're in a different reality from the person you are acting with; you lose any real connection with them.

I'm always open. As soon as I cross the half-court line, I'm open.

If there's a silence in a room I'll try to fill it as soon as humanly possible.

As soon as you become complacent your show gets canceled.

When I'm in heavy-duty writing mode, there's something great about reading a series. Soothing, but not distracting too much.