Quotes of All Topics . Occasions . Authors
I feel like I've made good friends with people I've worked with, but in terms of lasting inspiration, it is probably Matthew Vaughn who directed 'Kingsman' who's been really supportive, loyal to me, and been a really good person to work with.
The scariest thing about 'Roy' was that it was sync sound. So, I had to worry about my diction all the more along with my emotions, acting, and my dialogues. That was very challenging because it pushed me to work on my Hindi, and in a good way.
When the surf is really good, it's hard for me to concentrate on work. So I really have to watch when and where I surf - I won't get anything done if I get the fever. Then it's like I come into work and I'm wet and waterlogged and ready for lunch.
It took me a good eight to ten years to really formulate what I was doing onstage and start to get really personal with comedy. I always really had timing naturally, it was just about trying to figure out how that timing was going to work onstage.
I am comfortable with who I am as a person. I've never felt that pressure of feeling like I need to fit into something else or be something else because that's not me. I work out and I'm healthy, but that's not to lose weight; that's just to feel good.
I was getting a lot of good work with my wrestling up in Iowa, but I needed a more all-around game, striking, jiu-jitsu at a high level. I had a lot of good coaches out at ATT to work with. They pushed me. Everything was smarter. Everything was precise.
One arm might handicap me a little in competition, but I just work with what changes I know I have to make, and I'm pretty used to it now. It mainly depends on the wave conditions... I only get half the waves everyone else rides, so mine have to be good!
The MMA stuff has been really good, I'm enjoying that. To be able to work with Jay Glazer, he's a total meathead, he loves all that stuff. I hit him as hard as I can and he's like 'Yeah!' It's been fun for me to release that anger without putting pads on.
Claire Danes in 'Homeland' just blew me away. She is so intuitive, and her choices are so unique. When you see somebody like that work, you just have to stop in your tracks. It is a lesson in what good acting really is, and it is so inspiring to be around.
I don't want to work just for the sake of working. Generally, if a good script comes in, I read it, and if it appeals to me, it appeals to me. And it doesn't have to be anything - it doesn't have to be the main character; it doesn't have to be a huge part.
Actually, zero labels were jumping toward me, and I couldn't get to anybody. Nobody was paying any attention. And I was like, 'OK, I'm going to put my nose to the ground and really work on writing and creating some good songs that people could gravitate to.'
At first you see a lot of people say 'Oh he's good, but he can't shoot' or 'Oh he's good, but can his shot translate to the NBA?' That just made me go into the gym and work that much harder to show and prove that I can shoot outside shots, and I can make shots.
At my first job as an independent researcher at MIT Lincoln Laboratory, they told me I could work on most anything, but not what I knew something about. That is actually very good advice to a young person starting a career because you bring new ideas to the field.
If you said to me there's a top quality player who you can bring in and we are confident he will add to your squad, but you have to work with him a bit and he can be a bit fiery, then you feel if you are bringing him into a good group the group can take care of that.
I think it helps to have a good old-fashioned trajectory, plodding along. Obviously one has an ego and it's really easy to have that ego tickled, but what helps me get through the night is if I concentrate on just quality of work so that I don't panic about my profile.
I was actually shooting 'Warm Bodies' on the day that '50/50' came out, which I don't recommend to other filmmakers because I was sort of a wreck. Actually, it was good for me, because I had work to do, so I couldn't obsess all day and be checking how '50/50' was doing!
I've never been particularly good at explaining or even understanding what this sort of rage is that is so accessible to me. I'm not an out-of-control person, but I can access in my work very easily a feeling of real fury. Thank goodness I've channeled it into my work, I guess.
My work is all about how we consume. To me it's important to know where things come from. Generally, our products today are so cheap, you know there's something wrong. Things are not made in a good way. I want to make things that are. I want to make the story behind products visible.
I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter. The conductor would just rip into me, and it lasted for years.
'Analyze This' is a good movie because Robert De Niro and Billy Crystal are really good. But without the material to put on the play, of course, they couldn't be good. For me, it starts with the writing. I always think that the writer is doing the vast majority of the director's work, in a sense.
Every new HubSpot employee has to go through training to learn how to use the software. That's a good idea, and it also keeps me from having to worry about what I'm supposed to be doing here or why Cranium, who hired me, still has never come by to say hello or talk about what he wants me to work on.
Of course, there are those critics - New York critics as a rule - who say, 'Well, Maya Angelou has a new book out and of course it's good but then she's a natural writer.' Those are the ones I want to grab by the throat and wrestle to the floor because it takes me forever to get it to sing. I work at the language.
I have the Midas touch, in the way that when I hook up with a project, I feel, not speaking cocky or conceited, but there's a confidence I have. I learned that from Muhammad Ali; I used to bodyguard him. He taught me about confidence. So when it comes to any job I work, I'm gonna do it good; I'm going to bring it over the top.
I studied journalism at The University of North Carolina - Chapel Hill. I did my graduate work at Emerson in Boston, and I was actually a reporter for a year in New York and New Jersey. It dawned on me that I wasn't cut out for that line of work. I mean... there's a certain thing that really good reports have that I just didn't.
All of a sudden, I was in charge of my own decisions in the studio, and I didn't have someone to guide me on what I was doing, right or wrong... I wasn't a producer, and I didn't realize until then how important producers were and how much they assisted me in my work. I tried to do what I could, but I had no idea what would be good for the market.
I used to work for a non-profit organization where I worked as a mentor and a counselor to first-generation college student and they kept asking me 'What can I read to try to know what I'm about to be in for,' and while I did have some good suggestions, I figured... I don't know that that book is out there, and that's sort of why I had to write it.