Suddenly I had a contract and I was earning lots of money.

Once, the parental bed collapsed because all the children sat on it at once.

Blank House was exactly a nice empty sheet where nothing was accountable because you were so naughty that you were in Blank House.

If you were in the film industry at that time, you were always picked up by directors who were much older. You were whisked about and shown things. I did work very hard though.

I had a quick ear and could pick up languages.

I don't think in my family anyone looked after anyone. It didn't matter how old they were.

If there was a distraction I'd get up and jump out the window. I was quite out of hand. In schools like that I don't think they expect that girls are going to behave in such an outrageous fashion.

I was a hard worker, and I always knew my lines.

Suddenly I had a contract and I was earning lots of money.

Both my parents were doctors, and my mother had her surgery in the house. There were six children.

The most surprising thing for my mother and father was when I was actually earning more money than them by the time I was about 18. They thought I was going to be the ne'er do well, who they'd have to keep worrying about.

Very quickly, without really looking back or trying, I was just suddenly lifted into another sphere.

The best part of learning any profession, when you're really going through those huge stretching escalated times of learning and energy, is when you want to do it so much.

My father said, If you want to do acting, you have to be successful, which is a silly thing to say.

I had a place in England and was commuting from England to Australia, which is pretty stupid, but after two years I sort of knew what I wanted to do, more or less.

I never used to sleep much. I think we all go through a bit of a time like that where we rage about. If we don't, I don't think you've ever really lived.

You never came home for lunch: you just stayed doing, playing, having fun, surfing, running round.

I didn't know what to do with myself. I wasn't excited by the teaching of the school. If they'd been intent on really teaching you things, I would have been a little more attentive.

I sort of was good at writing essays. I was never very good at mathematics, and I was never very good at algebra. I loved science, but I wasn't sure of it.

I was often very, incredibly naughty, and if I didn't come home at tea time I used to be sent to bed without any dinner. But people used to bring me things: I was better fed in bed.

I got through my teen years by being a bit of a clown.

I learnt the theory of movement, which I still teach sometimes. I was very, very ambitious to learn a skill.

I spoke French a bit, and I could speak a bit of this and that, and when you were taught those things by people who couldn't really do it, you can do some pretty wonderfully, imaginative horrific things to teachers.

At boarding school you had to wear your name across your chest and your back, and obviously I had a pretty funny name. It wasn't Brown or Smith or Hughes.

When I did Taming of the Shrew, I was very tired, and I decided to have a holiday and make a documentary.

My mother felt it was time that I had some parental control, so I went off to America and went to New York.

If you've got a lot of children, I think you let the other children bring them up more and you just sort of step in and do stuff like every now and again.

It was a very odd household, because the grandmothers were so different. Both of them had their own pianos. So it would be duelling pianos by grandmothers.

I also do not like the idea of soft money, these issue ads - people don't know where the money is coming from, millions and millions of dollars outside of the control of a candidate - there's no accountability.

Stories come from other shows at other studios where only 2,000 rounds were actually used and the money for the other 3,000 went right into the studio pockets. Corners were cut and that production suffered. Knock wood, that hasn't happened to us.

Never play anything that don't sound right. You might not make any money, but at least you won't get hostile with yourself.

Don't make music for some vast, unseen audience or market or ratings share or even for something as tangible as money. Though it's crucial to make a living, that shouldn't be your inspiration. Do it for yourself.

When I sent those scripts, that was the lowest point of my life. We'd just had our second son, and when I went to collect them from hospital, I went to the bank to try and get some money to buy some diapers, the screen showed I've got $26 left.

One does not need buildings, money, power, or status to practice the Art of Peace. Heaven is right where you are standing, and that is the place to train.

I would rather take the role and work and make my own money and self respect than to have sex with someone who has a lot of money.

People may take a job for more money, but they often leave it for more recognition.

I make no claim to being a business genius. You can make so much money in this business that it loses its value.

It costs a great deal of money to do a musical, and the more money involved, the more big business influences the artform.

The world over, give a guy money and it goes to drinking, gambling, and women. When you give a woman money, it goes to feeding, clothing, helping people.

Your team has to understand that coming into the ABA, you have to have your investments right and sponsorships and people ready to give you money so they can back you up.

I wanted to be an actress. In college I was a serious feminist and very political. I was determined to get one thing out of my career and that was respect. I didn't want money. I didn't care about fame.

A drunkard would not give money to sober people. He said they would only eat it, and buy clothes and send their children to school with it.

If you're a producer, you always spend too much money because you want that shot - and you're willing to spend a bundle to get it.

We are demonstrating for services for all the people and not just services for money. It's very important that this message goes to the European Parliament today.

I write plays not to make money, but to stop myself from going mad. Because it's my way of making the world rational to me.

It's important not to limit the amount of their own money that candidates can spend, but to give other people access to enough money to run competitive races.

The rule is not to talk about money with people who have much more or much less than you.

It's about the power of design and the power of the human spirit. It's above paying anybody to do something stupid for money like reality television does - like ambushing people.

Today, they're just up there for the money, just packaged and be gone.