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That's what I'm always searching for - finding the balance between not caring so much to where I put all this pressure on myself. But still caring enough to where it pushes me to work exactly how I've been working so far.
Sometimes you just have to calm down a little bit and let the system work itself.
I grew up with the mindset that when you get home from work, you go to dinner and watch a movie. I don't want to be going to a club and taking off my panties.
I've been so lucky to work with such great people: people that are such hard workers and have such a respect and appreciation for one another.
I don't think I've done any profound work yet... People ask me, 'How would you want to be remembered?' I tell them I don't want to be remembered! I'm not here to become a Madhubala or receive a Lifetime Achievement Award. I'm not that kind of a person. And I'm not brash about it; it's just the way I am.
I can't let the baggage of my private life get into work. Artists are more fragile than normal people. But I know that I am a role model for zillions of people, so no matter how deep you are hurting, you need to come out strong.
You don't have to do offbeat films to prove that you can act. I have done it but only to prove myself that I can fit convincingly into every kind of films. I want to do the 100 crore film where the hero does all the work, and I get to relax.
Any relationship should have love, and if there is no love, it is better to call off a relationship. People say that love happens only once, but I don't believe in it because for me, if one relationship doesn't work, you should move on and seek love in another relationship. Who knows; you might find love in the second relationship.
When I started out as a model, I took things for granted. Because I bagged work thanks to my looks, I didn't give my body any importance. I was a couch potato who'd eat anything. Then, in 2005, a tabloid ran a story calling me fat. I thought, 'I'm famous. How can I be fat?' It was a slap. I decided to get fit.
I'm a hard worker, and everything with me is, if I work hard, I should get paid for it. Everything with me, I try to symbolize something flashy like jewelry or a car. The rubbing hands is a symbol of hustling, so it goes back to the money.
I would love to work with Paolo Nutini because he is so soulful and an amazing songwriter.
In film or TV work, you can have this amazingly dramatic pause, and they'll just edit it out.
I am inspired and would love to work with Jack Garrett, Tyler Joseph of Twenty One Pilots, and Jack Antonoff.
Style is a big part of my life. I used to work in retail before I was an artist; a lot of people didn't know that. I was so good at selling clothes and shoes, and just the lifestyle, that I could tell what size someone was wearing just by looking at them.
Honestly, I've learned from results, period. Everything isn't a failure. Sometimes it just doesn't work. That's not a failure. Maybe it just means it wasn't its time.
Maybe our work appeals to some people more than others. But the opportunities that I present to my colleagues are completely uninfluenced by gender, race, sexual orientation, or religion.
I really focus on the ball, I really focus on the work, and I really focus on creating all the growth opportunities for anyone in the organisation that's willing to do it.
I get embarrassed listening to my last CDs. I've got a lot of work to do, let's put it that way.
I've always appreciated working with people I have chemistry with, who are friends, and where you feel that the work is growing while you are getting to know each other better.
As tennis players, we work and we sacrifice many things. To lose, that's not a happy thing - I mean sure, I was disappointed. You have to come back strong. But to win the last point in a grand slam tournament, that's the most beautiful and most satisfying feeling you can get as a tennis player. It's worth it.
My suggestion is that we should first work to ensure the Third World has clean drinking water and sanitation.
Well mostly in song writing my experience is that there isn't so much inspiration as hard work. You sit there for hours, days and weeks with a guitar and piano until something good comes.
Mostly, in song writing, my experience is that there isn't so much inspiration as hard work. You sit there for hours, days and weeks with a guitar and piano until something good comes. But the urge to write is something you have to have. A conviction, an ambition to write and never stop until you think, 'This is the best I can do.'
The writers who reject tendentiousness and purpose in their work are the very ones who display it in every word they write. I could draw countless examples from the history of literature to show that the more a writer clamours for spiritual freedom, the more tendentious his work is liable to be.
I've worked with a lot of gay and lesbian organizations. I sit on the board of the Empire State Pride Agenda. I've also done a lot of work for Broadway Care/Equity Fights AIDS. I think it's important because, when we can be of service to others, it only enhances our lives. I've been helped a lot in my life.
I had to come out to my mother three times over a twelve-year period, but I first came out to her when I was sixteen. It didn't go over so well, because I grew up in the Pentecostal Church. It was a very strict environment. She has since done a lot of work and has really blown my mind. She has learned about my life and has changed her mind.
I'm not one of those actors who gets so taken by a role that I can't live my life. I'm the type of actor who goes to work, transforms into a character, takes you on a journey, and then comes back home to be Billy. When I'm in it, I'm in it, but I know how to get out of it. When you can't shut it off, you're a crazy person. I'm not crazy.
I took 'Grease' to play my trump card, my voice, and get attention that would lead to auditions for serious work like 'Angels in America.' But I backed myself into a corner with 'Grease,' and it took me 17 years to get out.
I want to do work that means something to me so that when I go to work at the theater eight times a week, I want to be there.
If you gauge how you're doing on whether somebody is responding vocally or not, you're up a creek. You can't do that; you kind of have to be inside of your work and play the scene. And tell the story every day. Tell the story. Tell the story. Regardless of how people are responding, I'm going to tell the story.
I do believe that God has his hands on me and that he has work for me to do.
So when bands work with me and it's 10 o'clock, usually you'd have to be getting out of the studio, we could go on until 2 in the morning cause it's my place!
There are certain people I'd absolutely love to work with. I was a huge fan of 'Two and a Half Men.' The comedic timing was so perfect on that show. So maybe that show or maybe 'Modern Family.' Both of those shows have great casts.
Honestly, I don't look at it as work because I have way too much fun on set to actually classify it as work. I know a lot of people who are like, 'Man, acting's so much work.' And I'm like, 'No, it's not. I'm having fun.' And I want to keep doing that. I don't ever want to give up acting.
They've tried to manufacture other Marilyn Monroes and they will undoubtedly keep trying. But it won't work. She was an original.
For me it's always about first impressions. I trust my instincts. I love to prepare if it's something that requires training. But I don't like to prepare the psychology too much. I enjoy the psychology of the character but I work better from a first impression.
One day we were sitting in our little classroom in the middle of Australia Zoo, and Dad bursts in and says, 'OK, today we're going to go climb a mountain,' - the Glass House Mountains are about 20 minutes away - so we packed up all our math work and ran out the door and climbed Mount Tibrogargan.
When you lose someone whose life was so extraordinary like my dad's, you have two options: You can curl up in a dark corner... or rise above it and dust yourself off and continue with their work. He will always be with me.
In my world, I read resumes upside down, so I start with personal interests. So if somebody doesn't have believable, interesting interests, they're not going to work in a creative business.
Somehow, the company must stay true to the founding vision while avoiding the pitfalls of rapid growth - and perhaps survive the hiring of a previously successful executive who doesn't work out.
For someone who's had the level of success I've had, there's been very little critical review of my work, which is pretty fascinating.
I just don't want to live in the past. I'm really disappointed by so many people of my generation who - in order to promote their new work, they have to constantly lean on their past. I don't want to be that type of artist... I see a lot of people out here doing really marginal music.
I have never indulged our society's misguided notion that my personal life is relevant to my work, so any reporting surrounding that is necessarily hearsay, speculation or fantasy.
I don't want to expose the intricacies of my work so people can understand how I did it.
There's exceptional work being done on television. Some of our great writers are writing for television. When you have things to choose from, you typically go after the writing - unless you're going after the money. There are fewer opportunities in film to make money with good writing, unless you're an action hero.
I went to acting school, and there were twenty other actors in my class who were exceptional. It's hard for anybody to get work. When I was trying to get jobs, I felt a responsibility to be respectful of the opportunities and take challenging things that could be interesting both for me as an actor and for the audience.
I am not the most objective viewer of my own work. So I have different thoughts about my work.
I confess, I'm one of those actors who finds it incredibly hard to divorce myself and my performance from the work itself.
Jazz is very much a part of my life. I work with the Thelonious Monk Institute and do the artwork for their program every year.
I tend to approach characters not based on ethnicity but on some unique individual qualities, and I've set my whole life that way. I don't want any sort of limitations imposed on my work. If you truly want to be a creative person, you can't limit yourself.
I go, and I do my work, and I try to do the best I can, and I collect my money, and I go home, and then I go on to the next thing. That's my attitude.
I'm from Minnesota! I used to work Knuckleheads at the Mall of America as a stand-up. I spent New Year's there once. I'm not trying to namedrop.
I still enjoy watching a batter successfully cross home plate, but nothing thrills me more than seeing the Holy Spirit at work in hearts as the Gospel is carried into stadiums, across the airwaves, and around the world.
With a fresh start, I hope it'll work out good. I know the whole Fox story and how he came over here and had a great year for them. I'm hoping that's what it'll be - fresh start, new faces, new team, new city. I'm looking forward to getting out there.
I really think you can manifest your dreams. You can manifest your destiny. If you want something hard enough and you're willing to work for it, I think you can get it. I truly believe that.
That's the difference between working on film and working in a play. In a play, you work on it, and you live in it and develop it and make it happen.
An actress who has the gift of swaying the emotions of an audience, of compelling tribute of tears, or of moving the public to joyous merriment, cannot always be satisfied to set aside her whole career, in the work that she loves, simply because she is married.
But if people will laugh at my work and keep a sound roof over my head, who am I to complain?
I work with my brother Finneas, and he produces all of my music in his little bedroom in our house. We actually tried renting out a studio for a month when we were producing 'Don't Smile at Me,' but it was really hard there, and we ended up just doing it at home anyway.
Singing songs like 'The Man I Love' or 'Porgy' is no more work than sitting down and eating Chinese roast duck, and I love roast duck.
They're not put on earth to be martyrs; they have to want to come out. It depends on your culture, where you work, where you live. Each person's circumstances are unique.
I'm happy in the UK. I absolutely love it and I've finally got a great group of friends. I've got a lovely little flat and my work's here.
I very often wake up at two in the morning with my stomach going over. Sometimes it's difficult to work out why - it's all the things you've put to one side during the day.
I love what I do. That's one of the reasons I've stayed. I love the community; I love driving to work.
The idea that you can create a template that will work forever doesn't happen in any business. There's some really, really bright people in this business. You can't do the same thing the same way and be successful for a long period of time.
Then there are actors my age like Ethan Hawke, he's in 'Moby Dick,' I love his work. I've been lucky. Alfred Molina, he has real class.
Most of the people that I went to school with - I went to secondary school - we were educated to go and work in the line at Ford's, and if we were lucky, technical skilled labor. I sort of rejected that, and thought I wanted to do something else.
I've gotten an opportunity to work with a lot of the people I've looked up to over the years, and I feel pretty grateful for it.
I've been kicking around in this business for 20-something years now, and there's actually few times where you can look at the piece of work that's put out there, and you can actually be proud of it.
When I turned 12 or 13 years old, even as a dad, you can't make a kid play anymore, but up until that point, he pushed me to keep playing, and when I turned 13, I didn't want to do anything else. He was just there with me at the cage every day because I wanted him to go with me and throw to me and work on what I needed to work on.
You have to work hard each day and try to figure out what's going on and try to get better each day.
Aside from what it teaches you, there is simply the indescribable degree of peace that can be achieved on a sailing vessel at sea. I guess a combination of hard work and the seemingly infinite expanse of the sea - the profound solitude - that does it for me.
My parents were strict and taught me the proper fundamentals that I would use in my life. They taught me commitment to work hard.
I'm not trying to achieve perfection. I don't like this forced control people have over work.
I liked drawing and painting, because the only failure would be to listen to the doubters who wanted me to stop drawing and painting because 'you aren't going to make a living doing that.' I liked looking in art books at the work of painters.
I've dubbed myself as an amateur, not because I work in different field, but because I do what I do for love.
Labor must work harder to attract and retain members. The party should be cheaper to join with discounted rates available for union members as well as for students, pensioners, and people out of work.
To me, that's one of the things that I love about doing this stuff. One day I can work on this piece in watercolor, and then work on something else on the computer, or work on something else that's a completely different approach.
There is a whole generation of people who are going to see movies or watch TV who don't want to work.
Kyle Baker's work is really funny, but it's also got a very clear vision.
I wanted to learn how to paint rather than just doing black-and-white work.
But if I really want to produce my own work and tell stories, then I will.
I always wanted to create a site that was sports and pop culture. '30 for 30' had a big impact because I loved how that was about finding, empowering and working with these incredible directors, and I thought the same thing could work for writers.
My height can be a problem. A lot of directors and photographers are sometimes not happy because I'm pretty tall and especially if I work with short actors the difference can be pretty massive.
I spent a lot of time on film sets with my dad at work, and as a kid, that's a very appealing thing, to watch grownups get to play dress-up and pretend that they're different people - and then get paid for it!
Until your mid-twenties, you're still growing up mentally. It's fair to say there's a bigger difference between twenty and twenty-five than between twenty-five and forty in terms of who you are, how you relate to your work, and what you want out of it.
There's always some extent of luck going into getting a job. I try not to think too much about my own looks or how I work. There's a danger in becoming too self-aware.
Man is the animal that intends to shoot himself out into interplanetary space, after having given up on the problem of an efficient way to get himself five miles to work and back each day.
Vision connects you. But it also separates you. In my work, and my life, I feel a desire to merge. Not in terms of losing my own identity... but there's a feeling that life is interconnected, that there's life in stones and rocks and trees and dirt, like there is in us.
Emotions are the key to many aspects of life. They are precisely the elements that make human beings human. I think the fact that emotions have been reduced and put off to the side in intellectual work, particularly in the 20th Century, is tragic.
Video artists being at the low end of the totem pole economically, one of the ways we survive is to go around showing work and giving these talks.
You are just as qualified as any expert to make a judgment and have a feeling or a response to any work of art.
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