I haven't ever had any ambition in my life. I just drift from day to day with a stupid grin on my face.
Around 14, I was turned on to Shania, Reba, Merle Haggard, Garth Brooks, Trisha Yearwood. . . and I've followed it ever since.
I started to write a lot of ballads that were sultry and had a Norah Jones-for-country kind of feel. I wanted to bring elements of old soul music and old country music.
You know, I had the music baskets and the writing basket. And I had the acting. And those eggs just hatched first, and the others were slow to incubate.
What I loved about country music when I was a kid was the Grand Ole Opry, was Hee Haw, was 360 degrees of entertainment.
What I've noticed about celebrities is, if they are really successful, they're more down-to-earth.
I always have plans to return to the stage. I leave myself very open. I think what would be more likely is if I did a limited run of something, whether it be a play or a musical.
What new psychology suggests, it's the factor that is top of consciousness at the moment before you make that economic decision that will win the day.
I try to communicate with the musicians the way I communicate with the filmmakers. I'm not going to say to them, can we be a little bit more presto here. Hang on, this should be a bit more exciting, or I try to explain the scene to them, or I try to explain the context the notes are supposed to live in.
Thousands of experts study overbought indicators, oversold indicators, head-and-shoulder patterns, put-call ratios, the Fed's policy on money supply, foreign investment, the movement of the constellations through the heavens, and the moss on oak trees, and they can't predict markets with any useful consistency, any more than the gizzard squeezers could tell the Roman emperors when the Huns would attack.
My mother always wanted me to be glamorous. When I thought about that, it really fired me up, and once I lost all those pounds, I started to feel really good about myself.