You never know when you read a script how it's going to turn out because so much depends on the collaboration between people. If I'd been in some of the movies I turned down, maybe they wouldn't have been a success.

I just did in my early twenties what most did when they were teenagers, being free and exploring and making mistakes, but I did it in France. I did it privately.

I don't really believe in regret. I think you can always learn from the past, but I wouldn't want a different life.

I've been called the Women's Auxiliary of the Brat Pack.

You never know when you read a script how it's going to turn out because so much depends on the collaboration between people. If I'd been in some of the movies I turned down, maybe they wouldn't have been a success.

And to be honest, most actors are incredibly solipsistic.

I didn't have parents who were, you know, racing to get a reality television show, you know? Or looking to benefit in some way from their daughter's fame.

I do regret, as I described in my book, the time that I shaved off half of my eyebrows thinking that I could draw them in better - and they would grow back anyway.

I felt all the things that other teenagers felt. I was insecure in lots of ways, over-confident in others. I was very emotional. Excitable.

I have a very independent spirit.

I just needed to leave Hollywood.

I like to say, jazz music is kind of like my musical equivalent of comfort food. You know, it's always where I go back to when I just want to feel sort of grounded.

I never felt terribly comfortable in the public eye.

I never really felt like I belonged in California.

I think when people hear about a celebrity writing a book of any kind, the assumption is that it was dictated to a ghostwriter.

I used to sing with my father's jazz band and then when I was ten years old a musician friend of his suggested that I try out for the first west coast production of Annie.

I wish I had been more prepared, both for success and for failure, when I was younger.

I'm so associated with being young and being with a teenager.

In life, there is always that special person who shapes who you are, who helps to determine the person you become.

John Hughes had such a huge impact on filmmaking.

Originally I considered myself a singer.

People feel like they grew up with me.

The cover I was really excited about was 'Seventeen' magazine. To me, it was much bigger than 'Time.' 'Seventeen' was where I wanted to be.

Whatever it is that gives you that confidence will vary from person to person, but I do believe that it is the key to succeeding at anything in life - career, relationships, anything.

When I was turning 40, I felt that there were no books out there that hit the spot in terms of what I wanted to read.

When you say you're 40, you can't call yourself an ingenue any more.

You can't be 16 forever.

It's interesting that instead of having to get tighter and more restricted for a collaboration, strangely enough, from the beginning, we've actually been more confident that we could handle this.

There are a lot of people who've been able to ditch their Windows machines and switch over to Linux because they can now use their Exchange server for calendaring and collaboration from their Linux desktop.

Thanks to farm subsidies, the fine collaboration between agribusiness and Congress, soy, corn and cattle became king. And chicken soon joined them on the throne. It was during this period that the cycle of dietary and planetary destruction began, the thing we're only realizing just now.

By the end of it, you never know how it's going to turn out. Hopefully if I pick the right songs and put the right melodies on it and all the collaboration works out. it's a win-win situation.

For the second album I look forward to doing a lot of serious collaboration and taking the experiences I've had over this last year, good and bad, and working it into the album.

Between you and me, I think that may be one of the things that will help with the collaboration, because there are things Eric thinks I'm moving too quickly on, and there are things I think he's dragging out. When it gets to the editor they can arbitrate.

I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.

Every sin is the result of collaboration.

I start with actors that I know personally or I know their work, and there are things about their work or their presence or their own personality that make a character, that exaggerates some qualities and suppresses other qualities. It's always a real collaboration for me.

The one great thing about a continuing collaboration is that they know you. And if you're really lucky, they really believe in you and think that your talent has some unending bounds to it.

So I didn't have anything to do with picking the songs, but I got to musically take them in places I thought might be interesting, so it was a real neat collaboration among the three of us.

The fact that the Arctic, more than any other populated region of the world, requires the collaboration of so many disciplines and points of view to be understood at all, is a benefit rather than a burden.

I think there should be collaboration, but under my thumb.

Every collaboration helps you grow. With Bowie, it's different every time. I know how to create settings, unusual aural environments. That inspires him. He's very quick.

This band is a real collaboration, and I'm greatful to anybody who can appreciate our music. It doesn't have to be a certain kind of fan or person or anything. I think there's a little bit of something for everybody on this record.

Art is the collaboration between God and the artist, and the less the artist does the better.

Unity is strength... when there is teamwork and collaboration, wonderful things can be achieved.

Good design begins with honesty, asks tough questions, comes from collaboration and from trusting your intuition.

Obviously in Art of Noise, I'm just part of the group, and when I do film scores, it's always in collaboration with the director and other people involved.

I dream of a collaboration that would finally be total, in which the librettist would often think as a composer and the composer as a librettist.

We hope that through these trade arrangements, through collaboration in training, in manpower development, and what have you, ASEAN in, say, ten years' time, will be a very different ASEAN.

I want to do a collaboration or some kind of side thing or some soundtrack work. Because I've been doing this for years and years. I'd like to just step out and try something different.