I started from B-grade films, and today I'm the number one actress of this country... whereas other actresses, whom you might call my contemporaries, they have had no growth in whatever platform they were launched... they are still there and have not risen to another platform.
If you were to plot my success or failure, it goes, it very seldom stays on a high plateau.
The other actresses, who are called my contemporaries, they started with a megastar. They were superstars overnight and are the same even today.
It's kind of crazy to think I'm still 22 and going into my fifth season. Time has been flying by. I think it's about that time I really take the next step to the elite level.
Once you've had success, I think you can go one of two ways. You can either have that success and go downhill, or you can use it to build off of it and continue going upward.
'Nightmare on Elm Street' wasn't that big. Over a long period of time it did very well, but this was different. 'Scream' didn't have a strong first weekend, and it went down the second, but then it kept going up.
I think it's important that your first film be your worst film, that one's life trajectory should go up.
Making the first million is hard; making the next 100 million is easy.
The movies and the parts I'm being offered are becoming better and better.
Seemed like everything I tried to do in broadcasting and as a player before that turned out successfully. I was succeeding. I got to the top of the heap in every facet of broadcasting.
You see kids leave drama school who are drop-dead gorgeous and they just go stratospheric instant'aneously.
I never dreamed I could build a $100 million company. I just happened to build a $1 million company that became a $5 million company, and so on.
YouTube didn't really start to hit its stride until 2006.
I started 'The Rainmaker' in August 1996, and I've been working consistently ever since. It's not like I had some grand plan; I keep getting offered jobs so good I can't say no.
After the first three or four years of me taking rap seriously, it started to look more promising. I started booking shows and more people were playing my music, so I starting believing this could actually work for me.
Since I remember still very clearly what it was like not being popular or in a successful band, I know that things go up and down, and you cannot expect this to be on the same trajectory forever. It won't be. Because even if you get to be the biggest band in the world, it's gonna change.
What you haven't done by thirty you're not likely to do. What you have done you'll do lots more.
My career has kind of taken on a life of its own.
All of my friends at drama school were still sat on the floor doing voice exercises and I was doing scenes with David Tennant and Catherine Tate.
There's no slow build anymore where you get a little part, then you get a little better part, then a better part, until one day your agent calls you us and says, 'guess what, you're a movie star,' and you say, 'Thank you!'
People who think achieving success is a linear A-to-Z process, a straight shot to the top, simply aren't in touch with reality.
The first stop on this crazy train is Kindergarten Junction, and nobody gets off until it pulls into Harvard Station.
Sometimes with success comes some crazy that goes along with it.
With us, people caught on to something on our third album, and that will never be repeated. Basically, I don't really have any complaints about the way that Beach House has grown. I feel like we're still in control of what we're doing, and it's a great time in our existence.
When I went to England the first time, everyone asked the same question - how come you're so big in Europe and nothing in England. And I told them that all the continents, they're coming, one by one.
