I was looking for the people who were making the music inside the cabinet. I would look in there and see if I could find somebody who was making all this wonderful music.
If someone came to me and said, "Your strategy in your post-presidency is brilliant," as if I had figured out a way to make me look better, to me, that analysis is amusing.
In an age where there's so much active misinformation and its packaged very well and it looks the same when you see it on a Facebook page or you turn on your television. Where some overzealousness on the part of, you know, a U.S. official is equated with constant and severe repression elsewhere.
I have never been insecure, ever, about how I look, about what I want to do with myself. My mum told me to only ever do things for myself, not for others.
After 9/11, we had to look at the world differently. After 9/11, we had to recognize that when we saw a threat, we must take it seriously before it comes to hurt us. In the old days we'd see a threat, and we could deal with it if we felt like it or not. But 9/11 changed it all.
You know that kind of quiver that trembles around through you when you are seeing something so strange and enchanting and wonderful that it is just a fearful joy to be alive and look at it; and you know how you gaze, and your lips turn dry and your breath comes short, but you wouldn't be anywhere but there, not for the world.
The situation that women were in, at the time, was something that Dumas doesn't really go into, but it's a great subject to look at. It's a great genre because you can do a lot. Sometimes in thrillers, you can really explore things, and it's the same in this genre.