Quotes of All Topics . Occasions . Authors
I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.
The title 'Crazy Ex-Girlfriend' is meant to be a deconstruction of a stereotype, and the whole show is about deconstructing the boxes that we're supposed to be put into. We like taking apart the tropes and the stereotypes and explore the nuances, so 'Crazy Ex-Girlfriend' is a label that we go deep underneath to explore.
Food is a way to explore culture and ground the story in a specific time and place. I still remember the meals and snacks from my first novel, 'Shug': pork chops and applesauce and Coca-Cola and peanuts, which are very Southern. When a character has roots elsewhere, food is a way to connect with home and another culture.
I think what really matters is the support you get in football regardless of the uniform you wear. Some girls feel good playing in long shorts, while some of them feel good playing in tighter shorts. I'm not against it. It's obvious that women have to explore that female side of things, and I don't think that's a mistake.
I invite the entire spectrum, shall we call it, of feeling. Because that is my greatest resource as a film actor. I need to be able to feel everything, which is why I refuse to go on any kind of medication. Not that I need to! But my point is, I wouldn't even explore that, because it would get in the way of my instrument.
New York is on a grid system, so it's slightly less challenging logistically, but Londoners are more relaxed in their selling approach. With that intense shopping service in New York, it's easy to get carried away and make a wrong purchase. Here, there's a different flow. You are left to explore, and individuality is key.
I try to make every issue new-reader friendly. I remember being frustrated many times trying to pick up new series that were overladen with baggage. The trick is to make that backstory seem like something compelling that they will want to explore rather than an obstacle course they have to crawl through to get to the story.
Sendak's 1963 classic 'Where The Wild Things Are' has long been a favorite of mine because of the creative imagery, fantastic adventures and, most of all, because of how this timeless story shows us that children need to be free to roam, explore and invent in order to understand their place in the world that surrounds them.
The social and political climate came from discussions about how we could find conflict in the wake of a 100-year-long war ending. But as we know in the real world, just because a war ends it doesn't mean that everything turns happy and peaceful. That provided us with some new kinds of conflict for us to explore in 'Korra.'
There's so much of our psychological makeup which is impermissible for us to explore because it's inappropriate or perverse or scary. I'm interested in exploring that in myself. I try to be honest with myself about everything that I feel. I'm not saying I'm able to do that all the time, but it's something I'm interested in.
I think what makes me different is that... I am comfortable with expressing my vulnerability. I think designers often want to just put the loveable ideas out there. Ones that are imaginative but not very introspective. It is more rare for a designer to explore his or her disappointments and moments of disillusion and doubt.
'Ruined' was a play which was somewhat of an anomaly in that I did not take a commission until it was finished because I really wanted to explore the subject matter unencumbered. Otherwise, I felt as though I'd have the voice of dramaturges and literary managers saying, 'This is great, but we'll never be able to produce it.'
Your post-college years should be an exploratory time in your professional life. From your early twenties and on into your early thirties, you should feel free to explore your professional prospects. Keep an open mind, and don't expect to get everything right straight out of the gate. Be prepared to start over once or twice.
I was excited to come to Australia to shoot for Seafolly because I've been wanting to visit since I was young. There wasn't much time to explore because we were so busy, which happens often during shoots. We had to take a boat to the Whitsunday Islands every day to get to the locations, which was a great way to start the day.
What I felt was, if you spend your life just writing fiction, you are going to falsify your material. And the fictional form was going to force you to do things with the material, to dramatize it in a certain way. I thought nonfiction gave one a chance to explore the world, the other world, the world that one didn't know fully.
One of the things with the second record, a word I held close to my chest was 'brave.' To take chances to go outside the box and explore. To continue to toss off any expectation that our fans or anyone else might have of us, to just tap into who I am as a writer and artist and really just operate within that freedom of creation.
There's a book that I read, really a great book - it's called 'Lone Survivor' and I think they're trying to make it into a movie. I would love to play Marcus Luttrell, who was the author and the 'lone survivor.' He's a national hero; he's very courageous and heroic in insurmountable danger, so it's something I'd love to explore.
Gosh, for me, when I was 15 or 16 years old, I was just starting to understand ideas and film and things like that. And then, you go see a movie like 'The Matrix' that absolutely blows your mind. It's not just trying to entertain you, but it's also trying to explore something about human nature and ask some really deep questions.
It was Sultan Qureshi, the character of 'Gangs of Wasseypur,' which brought success as a baddie, but it were the TC and teacher's roles in 'Masaan' and 'Nil Battey Sannata' that broke the villain's mould and helped me successfully explore the other shades - be it comedy, intense, or serious - surprising the audience all the time.
One of the things I wanted to do in 'The Death of Truth' was explore some of the larger social and political dynamics that fueled the rise of Trump and brought America to the point where a third of the country will casually shrug off hard facts about everything from the size of inaugural crowds to the crime rate among immigrants.
I was working for a Swedish TV show - I'm Swedish - who basically did kind of spectacular stories. It was almost like CBS '60 Minutes,' but a Swedish version where we actually did travel quite a lot. After a while, I realized that travel is the most fun part of this, so why not do it for a longer time and just go off and explore?
After graduate school, I joined Johnson & Wales University in Rhode Island as an assistant professor, but I continued to program in addition to teaching and working on research. I built a program that crawled job boards to determine which skills employers value, which helped Johnson & Wales explore ways to improve its curriculum.
Once you explore life outside of work, it becomes addictive. The less you work, the less you want to work. At first, the odd afternoon off seems like a fantastic luxury. Before long, you are opting for a four-day week. Then a four-day week becomes an intolerable demand on your time, so you find a way of moving to a three-day week.
In a single moment we can understand we are not just facing a knee pain, or our discouragement and our wishing the sitting would end, but that right in the moment of seeing that knee pain, we're able to explore the teachings of the Buddha. What does it mean to have a painful experience? What does it mean to hate it, and to fear it?
We live in such a service-based, globalised economy where very few people actually make anything and the people who do make stuff... it's all part of a massive global supply chain. So what if all those chains were suddenly cut, how would you make something? How would you keep people alive? And that was something I wanted to explore.
This is how I started: My mom was crazy for antique shops and junk shops, and my sister and I would play this game where, if we were driving with my parents and saw a junk shop or an antique shop, we'd scream at the top of our lungs. My poor father would have heart failure and screech to a halt, and we'd leap out and go and explore.
The role I see for my books is trying to think through the consequences of various things because a lot of the issues around technology and the nuances in it are not usually widely appreciated. That's how I view my writing as I sort of explore this terra incognita ahead of us in an effort to try to understand where we might be heading.
Usually, in theatre, you're adapting existing material or creating an entirely new play. With the 'Cursed Child,' we have been given the unique opportunity to explore some of the most cherished books and beloved characters ever written, yet work with J. K. Rowling to tell a story from that world that no one yet knows - it's exhilarating.
A country that has really resonated with me and I was really impressed with was Israel. I found that the whole country had a very special atmosphere. I was there to perform, but it was one of the few places that I've visited over the years that I had some free time to explore, and I was hugely impressed by all the religious history there.
The peculiarities of my childhood, of constantly moving through so many different cultures, of always being the outsider, may have made me extraordinarily self-sufficient, but it had also bred a certain detachment, a sense that the world was a place to explore rather than truly inhabit. This manifested as a kind of shyness, even timidity.
I absolutely don't write for women - far, far from it. It's so not what I want to do. Some of the writers, who have helped out at the beginning and end of the process - they're all men - have suggested quite feminine subjects they want me to explore. And I'm always, simply, 'No.' I don't want to do diets, don't want to. I just can't do it.
What drove me to do 'Dead Wake' was that after doing the most preliminary of reading and scoping out what kinds of materials might be available in archives and so forth, I realized that this book - the research, the writing - would present me with a rare opportunity to explore to a full extent the potential for suspense in a nonfiction work.
Working as a correspondent for 'Business Week,' I felt that I was simply informing people, not empowering them. I saw a parallel problem in the world of education. In too many educational settings, teachers simply 'inform' or 'instruct' learners, rather than providing learners with opportunities to explore, experiment, and express themselves.
The first series of 'McMafia' is very Alex Godman-centric and could continue to be, but we haven't even begun to explore the Middle East or Africa or even South America in detail. One of our ambitions would be to drop into some of these other places and, by doing so, bring the audience into a world that they wouldn't necessarily have been in.
I wanted to escape Small Town U.S.A. To dismiss the boundaries, to explore. My life experience came from watching movies, TV, and reading books and magazines. When your culture comes from watching TV everyday, you're bombarded with images of things that seem cool, places that seem interesting, people who have jobs and careers and opportunities.
Making a film is like making a mixtape. You're collecting all this stuff and putting your favorite stuff into it: you have actors that you like, characters that you're interested in, moments you want to explore, themes you want to deal with, music that you want to put in. It's a pastiche of all these things that deal with how you see the world.
Bushmaster was such a great adversary, and Mustafa Shakir, just the way that he embodies him in terms of the power of the voice, the stillness, and then, at the same time, when they do get after it, when he does fight, just how kinetic he was. He just brought a great dynamic and being able to explore his history in making the character Jamaican.
