I started working at a soup kitchen in skid row of Los Angeles when I was 13 years old, and the first day, I felt really scared. I was young, and it was rough and raw down there, and though I was with a great volunteer group, I just felt overwhelmed.
I think so much of what we learn when we get older is being comfortable in our own skin and learning what looks good, and not being so trend-centric.
I think the biggest part of being a girl boss in the office, at home, or anywhere you go is just knowing your value.
I used to be a calligrapher for weddings and events - that was my side job while I was auditioning. I think handwritten notes are a lost art form. When I booked my first pilot, my dad wrote me a letter that I still have. The idea of someone taking the time to put pen to paper is really special.
I was not a girl who grew up buying $100 candles. I was the girl who ran out of gas on her way to an audition.
I went to an all-girls' Catholic school for, like, six years during the time when kids actually had handwriting class. I've always had a propensity for getting the cursive down pretty well.
I will always find my light. No question. And if I don't, I'll know, because my dad will be the first person to call me and say, like, 'You need to have him bring another 2K in,' and 'Why aren't you using this sort of lighting gel?' The crew guys know that it's where I grew up.
I would love to do anything from a really gritty, interesting, indie type film, to that commercial, bigger stuff.
If I have to do a red carpet, and there is a whole team, then it is an hour with the hair and make-up. But if I am just going out with friends, it is 15 minutes max in front of the mirror. A quick five minutes on my face, and I always wear my hair up.
I'm a California girl, right? I grew up with that farm-to-table dining before it was sweeping the nation.
I'm an actress, a writer, the editor-in-chief of my lifestyle brand 'The Tig', a pretty good cook, and a firm believer in handwritten notes.
I'm consistently asked how I keep a foot in two contrasting worlds - one in the entertainment industry, predicated on wealth and indulgence, and the other in humanitarian work. To me, it's less of a question of how can you do this, and more a question of how can you not?
I'm deeply and passionately involved in the design process. I'm a brash American, and if my name is going to be on something, I'm going to have my say.
I'm from L.A., so I'm used to seeing people in sunglasses and flip-flops. There's something so romantic about a man in a scarf and a knitted hat.
It was the late '70s when my parents met. My dad was a lighting director for a soap opera, and my mom was a temp at the studio. They moved into a house in The Valley in L.A., to a neighborhood that was leafy and affordable.
It's all about balance, and I have so much happiness in my career and am fortunate to travel the world and see so many amazing things - it will also be nice to be anchored to something grounded and in the same place. Raising a family will be a wonderful part of that.
It's really attractive if a man has a skill that you want to improve in yourself. If you can learn from someone, then that's sexy.
It's really important that young women be reminded that their involvement matters and that their voice is heard. Even if it feels like it's small, it really can make an impact.
I've had dates at the nicest restaurants, but when you leave, you're starving, and the best part of the date is having a slice of pizza and a couple of drinks on the way home. I think it's important to be able to roll with the punches and enjoy every minute of it.
Just as black and white, when mixed, make grey, in many ways that's what it did to my self-identity: it created a murky area of who I was, a haze around how people connected with me. I was grey. And who wants to be this indifferent colour, devoid of depth and stuck in the middle? I certainly didn't.
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