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I did actually have a deal with Columbia, but it became increasingly clear to me after signing with them that they didn't know what to do with me and I didn't know what to do for them, so we agreed to go our separate ways.

I had been offered a Hollywood contract before my 18th birthday. It gave me the spark I needed.

Even to be flown out to New York was mind boggling for me, and signing with Columbia was great because they really understood my vision. Of all the labels that I met, they were the ones that really seemed to understand that I was really about the music, the writing, and the lyrics, so it was really fulfilling to sign with them.

It took a long time to get out of my contract. The producers thought I was negotiating for more money.

I would rather have gotten married than have a Hollywood contract.

I made a decision to live outside the city in northern California. My agent said to me, 'Kid, you're going to make a mint in television movies.' He positioned me, and we picked really good projects, and I cornered that market. They were 20-day projects.

Bargaining makes you come up with the best ideas.

My only ambition when I came to Hollywood was to pay my rent.

I felt like my pregnancy was a sacred moment for me. I stayed in Boston and I didn't work apart from the contracts I have, and then I only let them use my face.

I went to USC for writing. I was judgmental of actors and their Starbucks and fancy cars.