Work Quotes
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People who think that Sylvia Plath was a poor, sensitive poet are not getting that she had great amounts of ambition and anger that moved her along, or she wouldn't have been able to fight against that depression to produce such an incredible body of work by the age of thirty.
I'm a huge Springsteen fan, and yet if either he or Bob Dylan had to be erased from the world's hard drive, I would save Bob Dylan's work for sure - he's the greater talent, and by leaps and bounds and skyscrapers and rocket blasts. But Bob Dylan is an alien to his public.
If you want to see that human story unfold, if you want to understand that only the unexpected life is worth a damn, spend some time with 46 years of Lou Reed's work: music that leaped and then looked. Safety is for the godless and the faithless.
My mum is very driven and has always kept me busy... She used to say to me, 'Nobody likes a teenager. So use your teenage years to work. Then enjoy your life when you're slightly older.'
Always keep wiping your face with towels when you work out because I find that the more I exercise, that's when I have my breakouts. You've got to keep the sweat off because the pores are open when you're hot and can get clogged.
When I work onstage, I want to play roles that have real, deep theatricality, that aren't the sort you would easily see on television and in the movies.
The first play I ever did was with Michael Langham, Brian Bedford, and Colm Feore, at Stratford Festival. That was my first professional job, and I got to work with Garland Wright and so many great artists.
I know all my tricks, and I'm pretty bored with them, so if that's all someone wants, I'd rather wait for TV money and not work so hard.
I have to say, it seems to be the older I get, the better the work gets. When has that been true?
I see artists as the first responders. And when the proverbial crap hits the fan, we are there to be of service, to tell the story, to bring a balm, to soothe, to provide catharsis. You know, not to make our work any more important or less important, but just that there is a great importance to it.
The reality of the Green party is that we are a party committed to bringing forward big ideas, new ideas and demonstrating by our conduct in parliament and through the election that we really want to work for Canadians, work across party lines, work across jurisdictions.
I used to be a writer with superstitions worthy of a professional baseball player: I needed a certain desk chair and a certain armchair and a certain desk arrangement, and I could only get really useful work done between 8 P.M. and 3 A.M. Then I started to move, and I couldn't bring my chairs with me.
Ordinarily, I'd claim that I'd never write directly about my children, but the opening conversation of 'Peter Elroy' is a verbatim conversation that my children had that I just loved: morbid, funny, passionate, and obsessed with the truth of things - all natural qualities of children that I'd like my work to contain.
I work in my office on the campus of the University of Texas. It's the sort of place described as 'book-lined', but it's recently tipped over into 'fire-hazard' territory.
So the English approach to show business and their work is more - and this is a big generalization, I hasten to say - but it's more, they work on it as a craft job.
In today's world, we all live with the burden of feeling that anything is possible if we're only clever enough, smart enough, work hard enough.
Most people grow up dreaming of going to Hollywood and some of them work and work and work and finally end up in Hollywood.
Whenever I work on anything, there's always the fantasy that what one is doing is the next 'Citizen Kane'-slash-'Sopranos.'
Every day, I learn something new. I think one of the most exciting things for a writer is to work on a TV show. It's like a novel. You have a really long time to develop and learn about the characters, and you can just really keep digging in deeper, every week.
I believe the director is the one that sets the mood and if you have this hysterical director it's a domino effect. I would work for him forever, for nothing. Don't tell my agent that.
Every time I work with a European director, I find they hire the person that captures the spirit of the role. Americans tend to hire the best face. The person that looks more like the role, whether they can perform the role or not is a bonus.
It doesn't happen very often that you get to work with some really good friends of yours and there's a common language between everyone, you don't have to explain what you're doing, you can just run with it. It makes it just so much easier and more relaxed.
A painting of a person can be descriptive, but for me it's about all the things that make up a picture - the feelings, the brushstrokes - more than describing somebody. People latch on to the personalities when they talk about my work and forget the other parts.
I work intentionally to try and make dense, complex things. We can move between genres and forms, from something that looks like a PowerPoint lecture to something that looks like an informercial to something that looks like a cinematic melodrama.
I think part of the fun of being an actor is getting to work with different directors and seeing their take on it, what they're passionate about. They all have different ideas about your character.
Sometimes I think your face and your bearing and your energy have so much more to do with the jobs you get than the actual work and the time and the effort that you put in, or the talent even.
Mostly I work really unconsciously, and I think if the scenes are really well written, which they are, and if I just throw myself into it, I don't really think about it.
I don't connect to a certain girliness or talking about girly things - I feel unauthentic and uncomfortable in that world - maybe I'm just more butch than I realize! I have, however, been fortunate to have a number of great girlfriends. You don't meet as many girls as you do guys in my line of work, so I do cherish my friendships.
Which is - you know, like check it out, I'm pretty young, I'm only about 40 years old. I still have maybe another four decades of work left in me. And it's exceedingly likely that anything I write from this point forward is going to be judged by the world as the work that came after the freakish success of my last book, right?
But when it comes to writing the thing that I've sort of been thinking about lately, is why? You know, is it rational? Is it logical that anybody should be expected to be afraid of the work that they feel they were put on this Earth to do.
You know, even I have had work or ideas come through me from a source that I honestly cannot identify. And what is that thing? And how are we to relate to it in a way that will not make us lose our minds, but, in fact, might actually keep us sane?
My father did a lot of disaster relief work, and he was always in places where there was a lot of pain.
Today, blood work and science are able to provide more of a movie of your health, identifying trends before they become an issue.
I work all the time, and I'm basically in the office from the time I wake up and then working until I go to sleep every day.
What matters is how well we do in trying to make people's lives better. That's why I'm doing this. That's why I work the way that I work. And that's why I love what I'm doing so much.
It's just so hard sometimes to work out where people stand on these things. I mean, isn't the Pope a feminist?
I do not want medical men to discuss whether or not my work is valuable, because I know what it will do. I want them to tell me how best this new knowledge of rapidly restoring paralysed people to health and strength can be applied where it is needed.
I love going to the movies and being moved emotionally. I like my work, singing and writing in my journal.
Acting is a craft to me: I just think you get better the more you do it. And then the irony to that is your doing it is not in your control. If it was up to most actors, we'd work all the time, and we'd always get better. But it's not in our control, so we have to wait to be given parts to do.
Many tools are indispensable for my work, from a utility knife to parametric-modeling software, like Digital Project. But it's important not to confuse the tool for the content, as some designers under 30 do.
My interest was always to do interdisciplinary work with space. I thought of architecture as one strand in a multimedia practice.
The public brings our buildings to life, and we try to choreograph a lot of things, but our most successful work functions in unanticipated ways. Like the Blur Building. When little kids got in there, they cried or laughed or ran around. And no matter how much theory we put on top of it, it didn't matter: it worked.
We were kind of arrogant when we started and became really humbled as we were doing architecture. It's really hard to work with budgets and deadlines and all of these collaborators and all of these voices and special interests.
Theatre is real-time - you get that real-time audience reaction, which is fantastic. And with art pieces, people don't ever have to explain themselves. You can do something and really follow a research. With architecture, you have to be much more public. You have to build consensus. You have to work within the law. There are more complexities.
There is no doubt that now, more than ever, we must work to end our dependence on foreign oil sources. But we cannot do so by ignoring the wishes of the coastal communities that oppose drilling.
It takes a lot of work to put together a marriage, to put together a family and a home.
I appeal to everyone who understands what it is to have kids in school, have a mortgage, to work for a living; to have someone in their family or in their life who is less-abled and who is going to need help from the government.
I took a job as a reporter in India, where I lived with several married couples, which got me interested in why some marriages work and others fail. Back home, many women of my generation were also putting off marriage or not getting married at all, which only led me to more questions.
Dear, never forget one little point. It's my business. You just work here.
I'm very genetically blessed; I cannot deny it, but I work hard at keeping myself together. Yes, I have nice cheekbones and skinny legs, but I can't take any credit for it.
When I look at my own work, I see love, loss, and loneliness. Part of it might be that I was an army brat. I moved around all the time. There was a sense of nothing being permanent.
When I lived in Boston, I had an office that I rented because I found it wonderful to go away from my house to work: It was so quiet, and I couldn't go to the refrigerator or do the laundry.
You need a place to work that works for you, and you need people to understand that when you are writing, you are doing a rarefied type of brain surgery and therefore should not be subject to a million random interruptions.
I had to work out where I was going, what type of films I wanted to make. For that reason, I decided to choose independent productions, less important roles, and I tried theater, too.
In my early work, our molecular views of telomeres were first focused on the DNA.
If we think of our chromosomes - they carry our genetic material - as being like shoelaces, I work on the plastic tips at the end that protect them.
Women of all classes are awakening to the necessity of self-support, but few are willing to do the ordinary useful work for which they are fitted.
The God of justice is with us, and our word, our work - our prayer for freedom will not, cannot be in vain.
I've always sought to give opportunities to women, to people who come from a different background, to add diversity to the mix - in that I think it makes our work better.
I truly believe our work is an extension of who we are, and I constantly strive to push myself and my teams.
No clean energy development is complete without extensive environmental protections, and I've been proud to work in a bipartisan fashion with my colleagues in Congress to protect our most precious natural resources.
Military spouses serve, too, and it's critical we work together to ensure our country's military spouses have the jobs they need and deserve.
There is still much work to be done to help our students secure good-paying jobs and achieve their ultimate goals, and in Congress, I'll continue to support Career and Technical Education programs.
Serving our district and military families is a tremendous honor, and as our work continues in Congress, I will continue fighting for a strong national defense.
I will continue to work in Congress to support Lyme disease research and education through funding for the National Institutes of Health and the CDC.
I think with comedy I get very sort of critical of myself and try and do the best I can and it doesn't come as second nature. I work at those kinds of films. It doesn't mean I can't do them - I've done two now, and I have a great time doing them, but I just find myself a little bit more neurotic.
I am a Midwestern Democrat, which I believe means practical, reasonable, willing to work across the aisle and focused on the economy and the middle class, saving the middle class.
Labor Day is a time to recognize and reflect on that work, and for elected officials to recommit to the too-often ignored task of fighting to improve the lives of working families.
I always tell people that this is a really simple deal: Work hard. If you work hard, follow what’s required and set your priorities right, then you can really perform without taking shortcuts. If you’re taking shortcuts, you can’t be free.
I’m confident to say that if you want to grow in a profession, consistency is the key… I’m strict about my work goals and training.
Thinking positively and confidently changed my life. If you stay consistent and work hard, you can be successful for a long time.
We have to have workers that will produce more and will stop work when it is not needed.
If you have a strong sense of who you are and what you're doing, then it's actually easier to work with other people, because you don't have to worry about them or yourself. You're just worrying about getting the best product, and all that other stuff is out of the way.
I'd love to work with Pharrell, but it's annoying because everyone is working with him now, and you don't want to be like, 'Oh, I want to work with you, too.' But he is the dream.
I really admire the way the fans have joined me in social justice endeavours and the charitable work that I've been involved in. We've raised over $100,000 on Twitter for our non-profit in Uganda.
That's an amazing gift as an actor - to be able to say I have an audience in so many countries in the world and that people know my work.
Working out makes me feel good. When I don't work out for a few days, I start feeling grumpy. When I'm at the gym, it wakes me up. My spirits are higher. I just feel happier and more motivated to do things.
The more you work out, the more you get the energy to do it. And the more you get motivated to do it, especially when you start seeing results.
When I get home from a heavy work day, I make sure I get outside with the kids. I don't think there's any better cure than being active as a family outside.
I've always thought that if you work really hard at something, you can get it.
There's always going to be a ball up in the air, and what I try to do is make sure that ball is never the kids. If that means sacrificing a social event or having fewer work commitments, it's worth it.
I prioritize the things that need to get done at work, and I ask myself where I'm spending the majority of my time. The answer to that question always needs to be 'with my family.'
The only incontrovertible fact of my work is the importance of life.
I was destined to work with dying patients. I had no choice when I encountered my first AIDS patient. I felt called to travel some 250,000 miles each year to hold workshops that helped people cope with the most painful aspects of life, death and the transition between the two.
My work with AIDS patients started right at the beginning of the epidemic, totally unplanned and spontaneous, as all my work had proceeded in the previous two decades, if it were not already my whole life-style! In the early eighties, we knew very little about this peculiar disease.
I love working with male actors, and I think there's a tendency to write really interesting characters that would work solely alongside men where they would be in a man's world and have to deal with that, and it creates a lot of interesting storylines. For me, it's kind of circumstantial, but I definitely enjoy it.
Men and women are both humans, so, for me, that makes my characters and the work that I do human stories.
I love my work, but I do not think that I am saving the world... I am a Valley Girl.
My mom had started to go to work when I was nine or ten, so I was aware of women trying to find their own identities by working. But I was still influenced by men to such an extreme. I wanted to play their games and wanted to compete in their world and be like them.
Almost six years ago, before I was given the incredible opportunity to be in 'Leaving Las Vegas,' I was going through a long period of artistic confusion. I'd spent years doing work that hadn't pushed me enough, and I was beginning to wonder if I had any talent.
I try really hard to give my kids as much independence as I can, caring mostly about their character: Are they kind? Generous? Do they work hard?
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