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If you want to come up with a really original design idea, and you want to capture a whole new design direction, perhaps the best way to arrive at that is not by acting and thinking and doing like everybody else. That's all.
It's a good marriage because each of us is what we are, allows the other one to be themselves, and appreciates each other for the right reason. You know, it's rare that you'll find two people who don't try to change the other person and let everyone be what they are.
When I opened Chanel in London, they were happy. People would go, 'Oh, I just came in to see it. It's so beautiful.' And you leave with a positive attitude toward the brand. Now, you don't really get that online. You don't go, like, 'Wow.'
If I need a pair of tennis shorts, I'll buy them online. I don't really care. Not going to go and try on a pair and see how my bum looks. Who cares? But for things that you care about - I mean, a jacket and a pair of trousers, you've got to try them on.
I don't talk about myself in the third person. When I start doing that, you'll know I'm having an out-of-body experience.
My name is on the door, and I care very much about the design that gets put out. I'm sorry, but it has to be my way. You learn that by working for people like I. M. Pei. You think he isn't a design tyrant? Is Calvin Klein a tyrant? When it came to his dresses, he had to be.
Nine out of nine architects start with a sketch, and then they say, 'What should we make it out of?' I start from the bottom up - what should it be made out of - and then I worry about what should it look like. The material, the color of the material, the way it feels, and the way you respond to it is every bit as valid as the form or the shape.
If you hug to yourself any resentment against anybody else, you destroy the bridge by which God would come to you.
God hasn't given up on you. He can still do great things for you, in you, and through you. God is ready and waiting and able.
In nonfiction, you have that limitation, that constraint, of telling the truth.
In fiction, you have a rough idea what's coming up next - sometimes you even make a little outline - but in fact you don't know. Each day is a whole new - and for me, a very invigorating - experience.
Where you are born, your parent's beliefs, or your ethnic background should not make you a target.
You don't torture people. You don't indiscriminately attack civilians. You protect as good as you can the impact of your warfare on women and children.
You treat detainees humanely because you know the other side will also treat detainees humanely.
You can't expect humanitarian and development agencies to rebuild Syria. There is not enough money. There is not enough capacity. There are not enough skills.
If you back out of a convention... you can't dodge your obligation. Torture is still not acceptable.
The photographer, even in fashion and portraiture, has to have a standpoint. It's important to know what you stand for, no? Most people just take pictures, but they stand for nothing. They follow trends and don't know why.
For me, every photograph is a portrait; the clothes are just a vehicle for what I want to say. You're photographing a relationship with the person you're shooting; there's an exchange, and that's what that picture is.
I have not taken inspiration from the fashion shows. I don't even really go to too many of the fashion shows - and have not for 15 years - because I don't want to be inspired by the same things as everyone else. If everyone is inspired by the same things, then of course, you all do the same pictures.
To go somewhere where nobody knows you, and to keep your eyes open... That was a beautiful concept in terms of putting yourself in a place to be inspired.
I show elements of the set in my pictures because it's not real. When I see movies, I often love the 'making of' more than the movie itself. It's not so final. When you have a woman just standing there, it doesn't mean much.
People think that it is important to learn by assisting the great photographers. I say that is a big mistake. Be happy; just learn from any little guy. Learn how to use the camera - you don't need anything else. You can't be taught the real skill anyway.
In the beginning of my twenties, I started transcendental meditation. For years, I did nothing else. Every holiday, I went to courses. Meditation is a real simple instrument. You don't need a long beard or a sari. It's meant to bring you to yourself. It's as easy as that.
Photography gives you the opportunity to use your sensibility and everything you are to say something about and be part of the world around you. In this way, you might discover who you are, and with a little luck, you might discover something much larger than yourself.
Fashion photography should say something about the stability of a certain time you live in or what kind of women you like. The most interesting thing is not what they're wearing but who they are.
You cannot say that one woman is 'more beautiful' than another, though people always do. It's so ridiculous to say that.
The most important part of fashion photography, for me, is not the models; it's not the clothes. It's that you are responsible for defining what a woman today is. That, I think, is my job.
I've never been impressed by somebody who came in with a crocodile bag, you know?
You know, as photographers, we do pictures, and people either like them or they hate them.
People often say, 'You don't go to fashion shows? What kind of photographer are you? What the hell is the wrong with you, man?' But that's what I need in order to be who I am.
You can only really invent something if you connect yourself to the real world - whatever that means.
You get recessions, you have stock market declines. If you don't understand that's going to happen, then you're not ready, you won't do well in the markets.
If you go to Minnesota in January, you should know that it's gonna be cold. You don't panic when the thermometer falls below zero.
Everyone has the brainpower to follow the stock market. If you made it through fifth-grade math, you can do it.
I think you have to learn that there's a company behind every stock, and that there's only one real reason why stocks go up. Companies go from doing poorly to doing well or small companies grow to large companies.
I've found that when the market's going down and you buy funds wisely, at some point in the future you will be happy. You won't get there by reading 'Now is the time to buy.'
When stocks are attractive, you buy them. Sure, they can go lower. I've bought stocks at $12 that went to $2, but then they later went to $30. You just don't know when you can find the bottom.
It's human nature to keep doing something as long as it's pleasurable and you can succeed at it - which is why the world population continues to double every 40 years.
Well, I think the secret is if you have a lot of stocks, some will do mediocre, some will do okay, and if one of two of 'em go up big time, you produce a fabulous result. And I think that's the promise to some people.
I've found that when the market's going down and you buy funds wisely, at some point in the future you will be happy.
But my system for over 30 years has been this: When stocks are attractive, you buy them. Sure, they can go lower. I've bought stocks at $12 that went to $2, but then they later went to $30.
To understand Occupy Wall Street, you have to understand artists. Art is freedom - freedom of expression - and its message has resonated through society for centuries.
Art needs to be socialised, and you need a lot of context to understand that, and that doesn't mean having read a few art history books.
If you have a vision and you are trying to accomplish something, you have to be competitive, or things are going to slip by you.
I want to lead the Progressive Conservative Party, a party that will promote true conservative values and principles. I can tell you right now, I am not the merger candidate. I am not interested in institutional marriages with other parties.
You can't have a discussion about Israel and the region without including Iran and their nuclear ambitions.
Acting is about covering up traces of who you are and just being the character. I think it's easier to accept people in roles if you don't know a lot about them.
The Guthrie Theater is a beast. It has 1,300 seats, and I couldn't act there. I always felt I was acting too small. I'd always have to fight to get the gumption to act bigger. There's a weird trick to it. You don't want to overwhelm the first six rows. You don't want to starve the back. I could never get it.
I spent a lot of time in churches. If you go to a synagogue, someone is always asking if you're alone, if you're married. In a church, in a hundred years no one would ask.
I believe that if you treat China as an enemy, then it is likely to become one.
One of the biggest reasons entrepreneurs don't succeed is because they have too many chiefs. You've got to bring in the right people to make the right decisions.
When you do make losses, or you have businesses that don't succeed, it's about knowing when to stop and do something else.
There are lots of people who say you are born an entrepreneur - you either have that gene or not. I really disagree with that.
I passionately believe that you should start a company that you really believe in. Don't start something that you have no interest in, start something that you're passionate about.
The more people you meet, and the more people you have influence over your business can scale quicker.
You've got to do the research. You've got to understand the market place, know your competitors.
If you want to make your own decisions about where you work, what you do, what you earn and what you buy, then being able to make money is an important factor.
We're having to spend a lot of time teaching our entrepreneurs how to teach and, I tell you, it isn't easy and that's why we should have an immense amount of respect for our teachers.
We were just a gaggle of kids, and everybody played together and had a good time. You know how kids can be completely horrible - abusive but fun. But anyway, it was a nice childhood.
I have a much wider, freer view about spirituality. I feel that people need to pursue it on their own, personally. You know, let it be theirs - a personal relationship with their soul, or their God, or with their church.
At the end of four years' time, at graduation, we were down to 12. At our reunion that we had several years ago, only 1 out of the 52 actually made it to ordination and priesthood. So there you go, there's your numbers.
I think that being a conscious parent opens your eyes to the fact that any adult relationships that you have, whenever children are present on a daily basis, that they're modeling how they get along with people by what they see how you get along.
And then, all of a sudden, you're like, all that's great and fun, but Arthur Miller's in my dressing room. This is the third night he's been here and he sits in my dressing room for an hour after each show, and talks to me for an hour. So I'm pretty spoiled right now.
I have the ability to move around without being recognized all the time. I mean, you want to be famous - but not too famous.
If you say simply that pressures toward democracy are created by the market, I would say yes.
It has been true in Western societies and it seems to be true elsewhere that you do not find democratic systems apart from capitalism, or apart from a market economy, if you prefer that term.
Let me say again that the relationship is asymmetrical: there's no democracy without a market economy, but you can have a market economy without democracy.
So I think one can say on empirical grounds - not because of some philosophical principle - that you can't have democracy unless you have a market economy.
Once you turn on the camera, making a movie is making a movie. I don't care if it's $9 million dollars or $50 million dollars. You have bigger toys, bigger set, actors who are better paid, but once you turn on the camera, it's director and performance, and I don't find a big difference.
You have to find the movie in the editing room, and it can't be four hours; it has to be two hours.
When you're researching something for a movie, you get a very different kind of reaction than when you're researching something for an article for 'The New York Times.'
What interested me was the story of Bennet Omalu. You hear his narrative: Immigrant from Nigeria, landing in Pittsburgh, only to learn and tell the truth about this most American - and sacrosanct - cultural institution: the NFL.
Sometimes, in a fictional story, you can be more honest and truthful, actually. As a journalist, you're a prisoner of the data, in effect. You have to tell the story with evidence you can verify.
I played football the whole time I was growing up, and through two years of college. I think it's a beautiful game in many respects, one that allows you to follow a player from boyhood through manhood.
It's very dangerous for a storyteller to walk into a situation with a political agenda because you end up telling a story about issues instead of telling a story about people.
I love writing in compressed time periods because the act of survival in the midst of panic and fear, that's where true heroism comes. If you have a uniform, and you're expected to do things, it's a sort of incremental heroism.
'Writing' is the wrong way to describe what happens to words in a movie. First, you put down words. Then you rehearse them with actors. Then you shoot the words. Then you edit them. You cut a lot of them, you fudge them, you make up new ones in voice-over. Then you cut it and throw it all away.
What I learned is that there are indeed some stories that are too true to tell, too revealing for the general population to metabolize. And too challenging to your reporter colleagues, whose turf or toes you might have tread upon.
Metro was really a star-builder, no doubt about that. You were wrapped in cotton wool.
If you look back over the history of computing, it started as mainframes or terminals. As PCs or work stations became prevalent, computing moved to the edge, and we had applications that took advantage of edge computing and the CPU and processing power at the edge. Cloud computing brought things back to the center.
If you believe that the mobile phone is the next supercomputer, which I do, you can imagine a datacenter that is modeled after, literally, hundreds or thousands or millions of mobile phones. They won't have screens on them, but there'll be millions of lightweight mobile-phone processors in the datacenter.
It doesn't matter what's written on a coffee mug or on a 'culture' slide; what you do as a CEO, day in and day out, and how you behave will define your company's culture.
When you and I go to work, and we use a computer to work and find that our work apps are completely onerous and the apps we use at home are quite easy, we wonder, why can't it be simpler, easier, quicker, and less expensive?
When you are only one vendor, there is a very low rate of innovation. You think the old architecture is just fine, and it can just happily exist for many years.
Writing, to me, is like kayaking a river. You are paddling down, and you come to a walled-off canyon, and you make a sharp turn, and you don't know what's around the corner. It could be a waterfall, it could be a big pool. The narrative current carries you. You're surprised, and you're thrilled, and sometimes you're terrified.
Surfing is a life path. You have to really commit... You have to let go and have faith that it's gonna work out when you take off.
I like the drinking-out-of-the-fire-hose approach - you're getting way more than you can handle.
I got out of Iowa all set to be a poet and a novelist, but you know what? It's really tough to make a living as a poet.
The one thing they didn't tell you at Iowa is how hard it is to make a living writing fiction and poetry.
Writing nonfiction, you're responsible to posterity, to history, to other people because the events happened, and you feel responsible to record them as they happened.
With fiction, I felt like I could bring to bear my full imagination, my entire heart, and so you feel very vulnerable. It's not your physical life, but it's everything else, so it felt like a lot was at stake.
There's always been in my life that tension between living and writing. For me, because I'm so physically exuberant, it was extra hard to sit still at the desk and put in the hours that you need to put in to write.
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