Quotes of All Topics . Occasions . Authors
I think people think how I got work came easy. People assume that I was an overnight sensation, because they're just now hearing about me, or that everything happened very quickly.
When you're on you're way into work, hit up the WhatsApp, find out what people want, and bring in a real coffee for everyone. Trust me when I say they will all really appreciate it.
I don't want to be typecast as the 'ambient guy' or someone who only does electronic scores. I think most of the work that comes my way is because people feel they know me musically.
All the grand work was laid for people who came after me. The Supreme Court decided not to give it to me, so they gave it to two white guys. I think that's what they were waiting for.
People always say when they meet me that I'm not what they expect. I assume they think I'm this super dark and depressing guy, but I like to channel all of those emotions into my work.
I worry about getting work, and then when I get it, I worry about doing it well. I don't want to just go through the motions and give people stuff. This stuff is really important to me.
I had to really work for everything. I'm definitely an underdog. I think Jesus made me be in that situation to be able to relate to more people. That's why give back to the at-risk kids.
There's really not much that people can pick on me for my work, so obviously they find other reasons to write something bad about me. I mean, people enjoy reading bad stuff about people.
To me, I was always just standing on the sidelines because up until issue 50, we were just doing Spawn. I wasn't recruiting anybody because I didn't have any books for people to work on.
I prefer to work with mystery, but that doesn't work well in an academic environment. They want you to analyze what you're doing, which is toxic to the creative process for people like me.
I mean, I don't want to sound - of course it's very nice, people come up and say appreciative things about my work. But the loss, in terms of privacy and anonymity, is no small thing to me.
I got to do the movie, and people who enjoyed 'The Birdcage' came out to see me on stage when I did 'Forum.' It introduced me to a whole new audience that wasn't familiar with my stage work.
I'm not much of a builder in 'Minecraft,' so I don't really understand how much work goes into these big projects. Seeing the flyby videos blows me away, and I have no idea how people do it.
I can't point to my work and say, 'This is my work.' My work lives in me, so when people criticize my work, they're also criticizing me. It's really hard to sort of divorce that sensitivity.
When on the show it is mostly reconstructions that I work on, but locally and on a day-to-day basis it is rhinoplasties. I also get a lot of people coming to me about upper eyelid lifts, too.
Some people don't like my fiction, because they prefer the nonfiction. But moving around keeps the work fresh for me and, hopefully, for my one or two readers who follow me from book to book!
When I was a kid I feel lonely, I have not many friends. If you make a movie, then you can work with different kinds of people and make different kinds of friend. That's very important to me.
Going in, I knew I wasn't one of the top ones, because I didn't even make the pre-season All-American team. That shows you what people thought of me right there, so I knew I had to go to work.
And for me, it's been, not only where I learned, but the people that I met there. Most of the people that I work with are guys that, one way or another, have been associated with the university.
I don't want my work or me, as a person, to be held up as a paradigm because, as Richard Dawkins knows, if people hold you up too much, you're only ever going to disappoint them by being a human.
I do everything. Of course, I have 50 people who work for me to do the drudgery of mold making and all the foundry. This is an enormous task. But every stroke in these sculptures is from my hands.
I began my work in the '70s, teaching at a university in Bangladesh, and these economic theories that I had learned stopped ringing true for me, as I saw the misery of people living all around me.
I just like to work with other people, and I like things that are kind of a little bit bigger than that. I don't know. I just feel like a solo record just kind of gives me the willies a little bit.
People approach you for the work they have seen you do. I don't think people see me as a lover boy dancing around, so I haven't received a role of that kind. I'm going to do roles that appeal to me.
I will be honest, and I have no shame in saying that after 'Kai Po Che!', I did not get chances. Some people didn't understand what to give me, and some people went out of the way to not give me work.
People have always challenged me. People told me I was going to get this big beer belly when I got done playing. But I work out six days a week, and when I turn 40, I'm going to still have that six pack.
That's the mantra I use when the team tells me something is too complicated. People keep saying, 'We need more prioritization.' I say, 'Guys, what you want is less work. And that is not going to happen.'
People always tell me, 'Don't work so much', but I can't help it. I feel like all the things I've done are important to get to this adult stage and now I'm getting all these adult offers, so it's working.
I make notes about things I see in films that really affect me, like the ending of 'Jules and Jim.' I think about how I can utilize things in my work. And I have a team of people who keep me down to earth.
As a kid I loved John McEnroe. They called me Mac because, while everyone else liked Borg, I was crazy about McEnroe. I tried wearing headbands and sweatbands, and whooping at people. It didn't quite work.
It has made me realise how many doors open for you when you're up for an Oscar. It seems once you are nominated, it validates you as a serious director, and you become someone that people want to work with.
My dream is to work with people like Meryl Streep, Michael Fassbender, Christian Bale and Cate Blanchett. To me, those are true storytellers - genuine people who have stories to tell and make incredible films.
To me, the greatest asset of the Fed is the people. We have a tremendously dedicated staff... They feel proud to work for the Fed because this is such a competent, professional and well-respected organization.
When people asked me what I did, I'd say, 'I work in publishing', and when they then say, 'What side of it?', I say, 'Supply' - no doubt leaving them to think I drive the books around in a van and deliver them.
I genuinely only want to work with people that I agree with on certain things. There were many sponsors I didn't want to work with because I didn't agree with their messages that they wanted to use me to convey.
My work is frequently described as cold, which is baffling, since it seems to me embarrassingly, shame-makingly, scandalously warm. I find my work filled with sentiment, and I can't imagine why people find it cold.
I do a lot of work with the Dyslexia Institute because, for people with dyslexia who do not have parental support, it is a huge disadvantage. I was fortunate because my Mum was a teacher and she taught me to work hard.
It takes a different mindset to be successful in anything; that's why there's not a lot of super duper successful people, because it's guys I know who may be ten times more talented than me, but they don't work as hard.
And I do think that earlier in my career, I did make a very conscious decision to make sure that I was doing work that wasn't necessarily given to me, and that people didn't necessarily think that I would be able to do.
People still say to me, 'What, you still live in Mexico?' I don't have to go to the United States simply to find work, and I don't have to stop what I'm doing. I mean, which Hollywood film beats 'The Motorcycle Diaries?'
With 'Bring It On,' I really have to give most of the credit to the people who lifted me up. In cheerleading, a lot of the work is from the guys lifting you, and my body would just have to stay straight or firm or tight.
I'm going to be honest. Up until I started work on Bumble, the 'f-word' scared me. People would ask me if I was a feminist, and I didn't know how to respond. The word seemed to put guys off, but now I realise, who cares?
If the work is pure then you have to think it could be understood. If it is not understood it doesn't mean that your work is not accessible. It doesn't worry me, but, of course, I would be pleased if people liked my work.
I don't work for Donald Trump. I work with him. I work for the people who sent me up here. He ran on repealing and replacing Obamacare. Those people that put him and me in office expect us to repeal and replace Obamacare.
I don't know who I touch and who I don't. I work hard trying to make people laugh. I try to do the kind of stuff that made me laugh growing up. I don't have any secrets. I don't know the reasons I've been so well received.
I like revisiting my early work, and people like to hear it. I don't make people suffer through any experimentation or new material. When I go see an artist, I want to hear the songs that drew me to them, so I do the same.
As soon as I started working at the 'Los Angeles Times,' people warned me not to get too close to artists because it could make it difficult to review their work, and you can never really tell if the 'friendship' is genuine.
If you have 130 people on set, all with different opinions, sometimes it's going to kick off. There might be some people who say I'm a big problem to work with - that you couldn't tell me anything - but hopefully, they don't.
Some people would ask: 'You are not the one who does the painting, or shot the work, how can it be your work?' But I was the one who chose which site we should use, and which assistant helps me to do the painting, or the shot.
Going into work and seeing Shawn Michaels - someone I watched growing up - how many people can say that? That they get to see people like Shawn Michaels at work and that they get to learn off Shawn Michaels. To me that's insane.