Quotes of All Topics . Occasions . Authors
I've always put myself intensely into my work.
I always had that get-up-and-go to work for myself - I never wanted a nine-to-five job.
It doesn't always work out, but if I visualize myself getting what I want, it can happen.
If I can surround myself with hilarious people every day, I will always want to go to work.
I'll always continue to work. I've never much depended on anyone but myself, as far as that goes.
I always thought of myself as a later bloomer, so I like some of my work more later than earlier.
I've always seen myself in sentences. I begin to recognize myself, word by word, as I work through a sentence.
I was fortunate enough to model, but it was always work for me. It was a way to support myself and finance acting classes.
What I've realised is that I'm happiest when I'm at work, as I am always preparing myself for when the opportunity arises.
I've been on a lot of film sets, and I've always promised myself I wouldn't create a set where people dread coming to work.
The goal for me has always been to learn how to express myself in radio and to have fun doing it and work with whatever contingencies arise.
I've always surrounded myself with people who are driven. You can be gorgeous, but if you don't want to work for it, nothing is not going to happen.
Definitely for myself, I find myself gravitating towards dramatic work. In terms of sitcoms, you know, I always tell my agent I don't want to be seen.
I thought that I'd never be able to work in films or TV. Another girl would be cutting her nose to be an actress. I was always very sure about myself.
To remain a credible leader, I must always work first, hardest, and longest on changing myself. This is neither easy nor natural, but it is essential.
I consider myself a writer. I always wanted to act, and as a teen, I studied acting devotedly. Eventually, I got writing work, but very little acting work.
Chances to win games won't always come in the box, so that's one thing I've got to work on: positioning myself outside the box and, obviously, taking shots.
Humor's always been the problem of my work, hasn't it? When working, I feel satisfied when I surprise myself. And when I surprise myself, I wind up laughing.
I took acting classes, and I'm always trying to improve myself. Everyone can improve, and the more you work in the industry, the better you are going to feel about it.
I don't know what people find or like in me, I'm hopelessly commonplace! Current appreciation of my work is a bit highbrow, I've always considered myself a popular artist.
If there's anything that I've always said about myself is that to me, it's much more important for me to get to work with filmmakers that I've grown up loving and admiring.
I have always thought it was important to maintain some connection for myself to what it takes to make a song work by myself, to put a song across to an audience by myself.
I've always just tried to continue to be a working actor and let the work speak for itself as opposed to promoting myself as someone who needs to be in everybody's living room.
Even though running is work for me, I always miss it if I take a break. A lot of people find running relaxing, but I can never switch off from timing and competing against myself.
I just got advice to work hard like I always did and never, nobody gave me everything. I always had to earn everything by myself. If I will just continue to do that, I'll be fine.
PSG was always a club that I wanted to join. I was ready to come and work hard for the team. When I joined the senior side, I was just shocked to find myself among footballing legends.
When I came into the England team I was always being asked whether I 'really' wanted to be a wicketkeeper. It was as though no one had noticed the work I'd already put in to make myself one.
When I write, what I long for is not more realism or fiction but more courage. That's what I always find myself short on and what I have to struggle to achieve in order that the work might live.
Writing is pretty flexible work, don't you think? If you want to surf, you just have to get a lot done when the waves are lousy. That's what I'm always telling myself, anyway - write while the surf's down!
I've always said that, growing up in postwar Japan, I never felt any connection to my work through those experiences. The work I do really comes from inside myself. For me, being born in Japan was an accident.
I get myself a gig somewhere, whether it's in a club, whether it's in a bar, it doesn't matter, and I just work on New Year's Eve because I always feel it's very symbolic for me for the next year, for the new year.
That's what I'm always searching for - finding the balance between not caring so much to where I put all this pressure on myself. But still caring enough to where it pushes me to work exactly how I've been working so far.
I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
As a director, your work is finished only when it's on the screen. But I will always be an actor who occasionally directs. And no, I have no interest in directing myself. I wouldn't be able to concentrate on both jobs at once.
I think I learned most from editing, both editing myself and having someone else edit me. It's not always easy to have someone criticize your work, your baby. But if you can swallow your ego, you can really learn from the editing.
I always enjoy the job and the work that I do, because that's the condition that I attach in accepting any job. This way, I can really work and dedicate myself to the institution for achieving the goal which I believe is a noble one.
It's a challenging task for every artist to come up with new ideas. Your last video would have made a benchmark, so the next one should ideally be better than your previous work, so there's always a competition with myself to be better.
I've always taken a lot of joy in my work, but it's also been very results-oriented. It's kind of like, making the thing, and taking a lot of joy in that, as opposed to allowing myself to be transported by the work of my fellow musicians.
As a black woman, I've always had to work hard to earn my respect as a musician - and as a young woman, too. As a writer, in certain sessions or certain rooms people think, 'Who's kid is this? Who's this little girl?' I've had to prove myself.
I always had this feeling, what I wanted to do. I was trying to work out myself, my frustrations, my body. I couldn't really pinpoint. I started taking photos of my sister and her friends. I was 15, exploring what it meant to be a 15-year-old girl.
Magicians are typically introverted; they don't tend to work with others, but I work with software programmers, composers, designers, so it's a very diverse group and the result is always more interesting than something I could have done by myself.
I've always thought of myself as a role model even before being a 'celebrity.' I've always been doing charity work and volunteering in the community since I was 8, so when you do that, I think you just assume that role when you put yourself out there.
When I was growing up, I wanted to be a house painter like my father, but I was always screwing up when I went to work with him. I had a talent for knocking over paint and painting myself into corners. I also realized fairly quickly that painting bored me.
The piano is an instrument I've always loved and so I taught myself. As a rapper, who wants to produce more, being able to play by ear helps a lot because I know where I want an instrument to turn or how I want it to sound without having to do too much work.
My background is a small town with no movie theater. So... I always pictured myself onstage. I went to acting school and learned all the skills. I left early because I did my first movie and discovered that I really loved the minimalistic work with the camera.
I don't write for a particular audience. I work as an artist, and I think the audience of one, which is the self, and I have to satisfy myself as an artist. So I always say that I write for the same people that Picasso painted for. I think he painted for himself.
I was low-key abusing myself. The idea of being skinny became something that was most appealing to me. Even if you watch 'The Real,' from season 1 to season 4, I was always 100 lbs. I started to really work hard to stay petite and to not gain weight and to stay sample size.
I always work only with friends, but it must be about them and myself. Because I film only very personal moments, nothing preplanned, staged or written, it has to be real and spontaneous. Some of them have become famous, some are not yet famous, some will never be famous. But they are all my friends.
I think the rejection - if it's taken in the right spirit, it can make you a better person. And I think that is what I've always striven for. If one thing didn't work out, a project or anything, it doesn't mean that I lose my own confidence. In fact, I give myself a lot more confidence and opportunities.
At Union Securities, I threw myself into my work with the discipline and commitment that I had always demonstrated in employment and only rarely displayed in school. Years later, I would come to appreciate, abstractly, the importance of productive activity to the mind and soul of both an individual and a nation.