Quotes of All Topics . Occasions . Authors
Neil Gaiman swooped into my life though another friend, Jason Webley, who knew we were fans of each other's work and introduced us via email. Neil and I, like me and Ben, just hit it off instantly.
Ralph Ellison's essays were models for me when I began my life as a critic. Slipping cultural yokes and violating aesthetic boundaries, he made criticism high-stakes work, especially for a black critic.
People assume that a self-portrait is narcissistic and you're trying to reveal something about yourself: fantasies or autobiographical information. In fact, none of my work is about me or my private life.
I work so hard for what I do. To achieve what I have has taken me half of my life to be able to achieve what I have achieved. And for people to think I have taken a shortcut, it's not right, and it's not fair.
It may sound terrible, but I often say that the military saved me from a conventional life in the United States and I've never really thanked them for it, because I haven't exactly been pro-military in my work.
When I was going off to training and matches at Arsenal, my mum wouldn't be on the side cheering me on: she'd be working so I'd have football boots. I saw that you had to work hard if you wanted to do anything in life.
All that's left now is purely poetic work, putting more life into individual places, as I've made so sure of the fundamental mood and dimension of expression that it won't leave me groping around in uncertainty any more.
I see all these old people who don't have anything to do but eat, drink and sleep. I will never say 'retired' because that's such a finality that I don't want to be part of my life. I'll work until they throw me in a box.
If life is so critical, if Anne Frank could die, if my friend could die, children were as vulnerable as adults, and that gave me a secret purpose to my work, to make them live. Because I wanted to live. I wanted to grow up.
What I like is the acting itself. But I'm a lousy celebrity. I'm not interested in selling my private life. I take my private feelings to the work, but I want there to be a difference between me and whoever it is I'm playing.
When Bindi and Robert have grown, there will probably be another life for me, and I can't anticipate exactly what that will be, but it will involve continuing Steve's work, conservation, being there for my kids, Australia Zoo.
Over at Barb Bowman, she's arguing that we should turn off Facebook's tracking of ads. I totally disagree; those trackers make newsfeed filtering work better and potentially could help bring me better ads, which improves my life.
Being in construction my whole life - I was trained as an architect - I always had to work with guys. And I always did my homework and then challenged them to figure it out faster than me. They don't want to be shown up by a woman.
After I left college, I went to work at the Royal Opera House in London, which became a real catalyst for me because it made me realize that I was interested in cinema and in the way life is thrust at you. So I started making films.
You could put me on a stage in front of 100 people, and I could do a tap dance, but one-on-one was really difficult for me. And it took me most of my life to learn how to work with that anxiety, to embrace and be comfortable with it.
Other people gotta be told when to go to the gym, what to work out, what to work on, what to do. For me, it was always my own self-motivation of maybe just wanting to make it out of Compton. I was like that with everything in my life.
There are no free lunches in life. You have to earn it. I am paying my dues. People have accused me of having it easy because I am Amitabh Bachchan's son. Yes, I am his son, and I've never run away from it. I work hard to make him proud.
I was doing some research on menstruation for a column. I read about Arunachalam Muruganantham's life and work, and his story gripped me, and that is when I sat down, wrote the first few pages, and sent them off to my editor to have a look.
My parents always wonder why I work round the clock and I never had an answer, until one day I came across a street full of Oyos. I saw so many families and friends on holiday there. This made me happy - life had come full circle in that moment!
It was really difficult being away from MMA because it's been a way of life for me for 13 years. But being on the outside and coaching helps you sharpen your skills because you have to explain what you do, why things work and why other things don't.
When you work in television, working for a big corporation, no matter who you are, you can always get cancelled. That sucks. Do you really want to work with an axe over your head for the rest of your life? Not me, not really, and not if you don't have to.
It's such a risk to write a novel that it's easy to become conservative - you're spending what would be, for me, a couple of years of my life on a single idea. Which is maybe one of the reasons I write stories - if it doesn't work, you've only lost a month.
Since 'Flip or Flop' aired in 2013, people really weren't asking me, like, 'Hey, what paint color is that?' or, 'Where'd you get that cabinet?' It was more, 'How do you stay healthy? How do you balance work life with the kids? What are you eating during the day?'
When you're starting out, you basically have all these assumptions about what it means to be an artist or how to be a rock star. It took me years, through trial and error, to figure out what does work for me. So much of it is counter to the myth of the rock-star life.
What was very interesting to me about Clementine Hunter's work is that she couldn't read or write, and she has recorded history of the plantation life and the southern part of the U.S. - the cotton harvests, pecan picking, washing clothes, funerals, marriages - in pictures.
I grew up in poverty, so I thought, 'I want to be a billionaire one day. I'll go and work for Donald Trump. I'll go try to be on 'The Apprentice' and be successful.' But 15 years later, I never would imagine that he, as the president of the United States, would call me a low life.
My life hasn't been conventional and it hasn't been linear. I've had to make it up as I've gone along, which has taught me a lot. If you don't accept the obvious options that are laid out for you, it's up to you to work out where you're going and to create your own specific rules and goals.
I've always had a process that I do before I even get to set or go to the location. I work privately, and it almost feels like therapy between me and who I'm playing. So I have this inner life that's there and it gives me a confidence, too, that when I'm playing the role I know every question.
I'm the perfect amount of guarded. I don't reveal too much, and I never reveal who the songs are about. They are real life. People get that. I date a lot of musicians and they do the same thing. People that work with me - who I write about too - they get it. It's my creative outlet, my therapy.
I've met so many who have opened doors for me and remained in my life both personally and professionally. After a while, networking doesn't feel like 'networking.' It's both serendipitous and unpredictable, and something that just naturally becomes part of your work life and your personal life.
I have, indeed, lived most of my life overseas, but I've returned repeatedly to work in film, special television productions, and the New York theater. There have also been tributes and similar occasions that have called me back to Hollywood. I've returned so often, I almost feel that I've never left.
I feel like the story me and Ronda can tell one day will be so awesome, and I think we have something special here. I think that it's going to be an honor and a privilege to work in the ring with her. That's the biggest compliment, is that Ronda Rousey - she's done a lot in her life. She's accomplished a lot.
Let me put it this way: I don't feel as settled as I look. I think that's true of everyone, probably. Except for Beyonce and Jay-Z. I don't think they wake up and think, 'Ugh, when's it going to work out for us? Why can't we catch a break?' Aside from them, I'm pretty sure everyone's life feels a lot less intentional.
Actors should stop complaining about nepotism. I am uneducated - I was asked to leave school in Class 11. I came to Mumbai with only Rs 300, yet there is no one in this industry who has not been nice to me. From filmmakers who have given me work to people who have given me advice, I feel blessed to have them in my life.
The reaction to 'Aftermath' has been far worse than to 'A Life's Work,' yet I find I'm perhaps a little less touched by it. In both cases, I've coped artistically by believing the criticisms weren't right. They upset me, but they didn't challenge my understanding of how to write, nor of how morality functions in literature.
I do not write for this generation. I am writing for other ages. If this could read me, they would burn my books, the work of my whole life. On the other hand, the generation which interprets these writings will be an educated generation; they will understand me and say: 'Not all were asleep in the nighttime of our grandparents.'
I like, for instance, 'Serpico.' I enjoyed playing Serpico because Frank Serpico was there. He existed. He was a real life person and I could - I could embody him. I could, you know, I could work and get to know him and have him help me with the text, the script and become him. It's almost like a painter having a model to become.
I'll only work on TV shows that have a 'Sookie' on them! Those are the only shows that will cast me. And I've never even met a Sookie in my life. Sookie on 'Gilmore Girls' was played by Melissa McCarthy. And Sookie, played by Anna Paquin, is number one on the call sheet on 'True Blood.' Somebody should write another script with a Sookie in it.