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.

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.

If you give it good concentration, good energy, good heart and good performance, the song will play you.

We need to have a culture that says 'the less energy you can use to be comfortable, the better off you are and the better you should feel about yourself'.

I merely took the energy it takes to pout and wrote some blues.

I didn't know at the time that the energy that I was giving off was like a battle Emcee.

The young people look great on television. They're youthful and have a lot of zip and energy, but when you see them live, they can only do about 20 minutes because they haven't got the training to hold an audience for an hour and a half or so.

It takes a lot more energy to fail than to succeed, since it takes a lot of concentrated energy to hold on to beliefs that don't work.

I try to give positive energy in all my shows.

In modelling, there is no point in trying to prove you have a brain, so why even bother? I'd sooner save the energy for something more meaningful.

I was part of it, and I am still part of it today in terms of what it means to a whole new generation of people who are interested in the enduring energy, achievements, spirit and creativity that exemplified our era.

I always like having kid energy around. I think it's good for a movie, even when you're doing dramatic stuff.

You had to decompress the pressure before the race. I taught my heart to relax. I lay down before the race. It gave me more energy just before the race.

As long as I had easy access to psychedelics at the government-sponsored research project, most of my energy went into psychedelic sessions.

You can have anything you want if you want it desperately enough. You must want it with an inner exuberance that erupts through the skin and joins the energy that created the world.

Nerves provide me with energy... It's when I don't have them, when I feel at ease, that's when I get worried.

Electric cars aren't pollution-free; they have to get their energy from somewhere.

When I see someone who is starved, they don't look alert. They don't have boundless energy. If you're too skinny, it looks like you're near death.

Why is it so painful to watch a person sink? Because there is something unnatural in it, for nature demands personal progress, evolution, and every backward step means wasted energy.

Comedy is so hard; it's so much harder than drama. The pacing of it, the energy of it.

If for no other reason than the energy crisis now facing this country, the federal government should be eager to become partners with us in rebuilding our city.

It takes a lot of energy to teach.

Any long work in which poetry is persistent, be it epic or drama or narrative, is really a succession of separate poetic experiences governed into a related whole by an energy distinct from that which evoked them.