Big stuff and little: learning how to order breakfast in a country where I don't speak the language and haven't been before - that's really satisfying to me. I like that.
In my perfect imagination, with stern discipline I rise with the first bird, salute the dawn, have a healthy breakfast of fruits, wander over to my faux-oak desk, tap the On button on my Macbook Air, acknowledge the muse, and skip into the world where the story flows over the day and into the night.
Every day at about four o'clock, I would go up to a farmhouse - or whatever kind of house was around - and knock on the door and say, "Hi, I'm biking across Canada, and I'm wondering if I could pitch my tent on your land." And sometimes people slammed the door in my face, but the vast majority of the time they said, "Of course," and then they said, "Come for dinner," and then they packed me food the next day and fed me breakfast and sometimes they got out the bottle of wine they'd been saving for a special occasion.
Curiously, the balance seems to come when writing is woven into every aspect of my life, like eating or exercising - one flows constantly into the next: I'll wake up and have coffee, read the news, then write a letter or two (always in longhand), then go teach, and after teaching write a bit in a journal - dreams, what I had for breakfast and lunch and why I had it, what's on the iPod, sexual habits, etc. - then read a bit, then work on a real bit of writing...you get the idea.
I think breakfast is the one meal when you don't have to eat animal, maybe.
I get up around 7 a.m. That's very early for a stand-up comic. Then I'll have breakfast with my husband, the artist Al Ridenour, take my three dogs for a walk and commence with my work.
Hot Cheetos! Ohhhhh! I used to crave them. I remember I used to eat them for breakfast, lunch and dinner. I had to stop. I had to turn it around because it was getting addicting.
The perfect Sunday morning is the family at home, staying in pajamas for half the day and eating a late breakfast.
Never try to negotiate with anyone after he or she has eaten. People are best persuaded on an empty stomach. And forget power breakfasts. There is no convincing anyone of anything before 10 A.M.
I am going to have one Klitschko for breakfast and one Klitschko for lunch.
Imagine my delight and awe when I discovered such a thing was a real genre - contemporary fantasy or urban fantasy. It was like having my birthday twice in one week and cookie dough for breakfast.
I love breakfast, so I'd probably spend a long time on that. And breakfast food matters so I'd make sure it is the best food - great fruit and such.
It's funny, if you go back and look at all those old movies a lot of times they didn't have the budget for music. Each scene here was written to a different time, whether that be 'Breakfast in America' or just different soundtracks that we had for different parts of the movie. I'm interested to see how it all plays once it's all put together.
Glamour can be something very simple. Glamour can be how you wash your face, how you make your breakfast.
I never play golf because it takes too long, and the business connections it produces can be made just as easily over an early breakfast.
I don't eat breakfast. I know it's the most important meal of the day but my body doesn't respond to it well.
My problem is that my imagination won't turn off. I wake up so excited I can't eat breakfast. I've never run out of energy. It's not like OPEC oil; I don't worry about a premium going on my energy. It's just always been there. I got it from my mom.
I love making buckwheat crepes with ham, Parmesan cheese, and a fried egg on top. It's my go-to breakfast.
A good mother remembers to serve fruit at breakfast, is always cheerful and never yells, manages not to project her own neuroses and inadequacies onto her children, is an active and beloved community volunteer. She remembers to make play dates, her children's clothes fit, she does art projects with them and enjoys all their games.
Breakfast Club was great because we had a real rehearsal, and we shot primarily in sequence. I thought that was going to be how movies were done. I didn't really know how lucky we all were. We had a director that liked actors. I didn't know that was going to be rare.
I remember Emilio [Estevez] and I were at John's house during the rehearsal process. And John [Huges] had mentioned he wrote the first draft of Breakfast Club in a weekend. And we both at the same time went, "First draft? How many do you have?" And John said he's got four other drafts. And we go, "Can we read them?" And for the next three hours, Emilio and I read those other four drafts.
We [ with Emilio Estevez] asked if we could take some things [ in Breakfast Club] that weren't in the shooting draft, but from earlier drafts, "Can we maybe use this?" And Hughes was very amenable to all that. And there was some stuff that I liked, and I said, "How about this?" And he went, "Well, we'll check with Molly [Ringwald]. Those scenes are with her. And if she likes it, fine." So it was just wonderful. It was great.
As they were building that library in that school's gym [in the Breakfast Club], they built a rehearsal space for us. It was really an empty room taped out with the same dimensions of the library. And they had the tables all there. And he had us sitting at the same table. All of us.
I think I was, like, 23 or something [on The Breakfast Club]. I was the oldest of the five. Emilio [Estevez] and Ally [Sheedy] were a year younger. The only real difference was that Molly [ Ringwald] and Michael [Hall] still had to go to school. They could shoot, like, a half day. So a lot of my close coverage was done with Molly's stand-in, so Molly could do her schoolwork.
If you want to be a writer, you have to write every day... You don't go to a well once but daily. You don't skip a child's breakfast or forget to wake up in the morning.
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