Quotes of All Topics . Occasions . Authors
There's a difference between lust and passionate love. Lust can't just creep in. You'll not find it where true love exists, but it has power enough to shatter the world you've worked so hard to create with love, and sometimes, it suddenly changes how you perceived love to begin with. Love then doesn't live there anymore.
I worked with Michael Black and Michael Showalter on their show 'Michael and Michael Have Issues.' We did some stuff on that, but it ended up not getting picked up for a second season. There will be more stuff, but not right now. Michael Showalter and I are literally next-door neighbors. We see quite a lot of each other.
My uncle was the first brown person to have a market stall on Petticoat Lane in the 1960s. He worked his way up from the street. He was homeless, but eventually he got a car so he could sell from the boot. And by the 1980s, he was a millionaire wholesaling to companies like Topshop. So in a way, fashion put me in England.
Like they used to say about Joe Montana, he threw soft because he couldn't throw hard. He was successful because he didn't try to do what he couldn't. I couldn't rock out harder than everybody, or overpower people with mastery like Jack White of the White Stripes, so why try? That's why I've always worked harder on words.
My 94-year-old grandmother has always been so inspiring to me. She is kind, smart, brave, and independent. After graduating number one in her medical school class at a time when it was extremely rare for women to attend medical school, she worked with the World Health Organization in North Africa to eradicate tuberculosis.
I started in the lowest league in baseball, and I worked my way all the way up to Triple A and then to the big leagues. I never reached the level that I thought I would reach as a player. But that's the way it goes. So then I started from the bottom as a manager, and I worked my way up to managing the Dodgers for 20 years.
When I was painting in art school - and I think many painters in the 1980s worked similarly - a finished painting would often be constructed from lots of other paintings underneath. Some of these individual layers of painting were better than others, but that was something that you would often only realise retrospectively.
I treat my writing like a day job, like my main job, even if for many years I was doing other jobs to pay the bills. I worked as a copy editor. I was a medical guinea pig. I was an eBay power seller of ladies' handbags. I was an assistant to a bookie at the horse races. I bartended. I did anything I could to make ends meet.
The conditions were terrible. The farmworkers were only earning about 70 cents an hour at that time - 90 cents was the highest wage that they were earning. They didn't have toilets in the fields; they didn't have cold drinking water. They didn't have rest periods. People worked from sunup to sundown. It was really atrocious.
I didn't get a chance to see Bruno Sammartino regularly because I didn't grow up in the northeast, but he came into Indianapolis in his in-between time of being the champion between '71 and '73 when he worked for Dick The Bruiser because he liked The Bruiser. I got to see him and the The Bruiser against the Valiant Brothers.
The design of the Mac wasn't what it looked like, although that was part of it. Primarily, it was how it worked. To design something really well, you have to get it. You have to really grok what it's all about. It takes a passionate commitment to really thoroughly understand something, chew it up, not just quickly swallow it.
I can say I know Linda McMahon quite well, yet they've only been brief encounters going all the way back to 1985 when I first worked for WWF/WWE. I started in 1984, but I don't recall meeting her until 1985. I can say this much: Linda McMahon has never changed. I think of few women in my lifetime that I respect more than her.
Part of my advantage is that my strength is economic forecasting, but that only works in free markets, when markets are smarter than people. That's how I started. I watched the stock market, how equities reacted to change in levels of economic activity, and I could understand how price signals worked and how to forecast them.
By the time my first solo record came out, I was making a handsome living as a record producer. I had worked with the Band, Janis Joplin and all of these other artists in the Albert Grossman organization. So as my so-called solo career evolved, I never felt pressure that I had to come back and top when I might've done before.
If the script's good, everything you need is in there. I just try and feel it, and do it honestly. I also don't learn things for auditions, because I feel like it's just a test of memorizing rather than being real. Maybe every other actor would think that was terrible, I don't know. But it seems to have worked for me, so far.
My high school, the Illinois Mathematics and Science Academy, showed me that anything is possible and that you're never too young to think big. At 15, I worked as a computer programmer at the Fermi National Accelerator Laboratory, or Fermilab. After graduating, I attended Stanford for a degree in economics and computer science.
I was born in 1928, so in 1943, 1944, we had the war in Rome. There were a lot of hardships, a lack of food, many shortages. So when I worked with the Americans, the English, and the Canadians soon after the war, when I played with them, they paid me with food. That will give you an idea how widespread poverty was at that time.
I was 22 and had worked on Wall Street for a year, and quit my job. I bought a motorcycle and sort of had this fantasy that I'd go cross-country like 'Easy Rider.' I went from New York to L.A., and on the way back, I stopped in Chicago and saw a friend of mine who was into improv. And I figured it might be fun to give it a shot.
I am endorsing Sen. Cruz because I have worked with him in the trenches, fought battles with him on the Hill, and he has proven himself to be honorable, tough, and a man of his word. He votes the way he says he will vote. He backs his words with action. I respect that, and for that reason, I think he will make a great president.
Remember 'The Brady Bunch' TV show? That 1970s family had a full-time live-in housekeeper called Alice. Mrs. Brady worked at the PTA and did community work. She didn't clean her own house. That was middle class. Now you have to be very rich to employ a housekeeper. Everything it meant to be middle class has changed dramatically.
When I was younger, I had conversations with friends about wanting to create something different. Every young musician probably thinks that. But it's difficult to do, because there are only so many words, notes, melodies, songs. But as soon as I stopped thinking and started feeling, it worked. I didn't realize it till I was done.
My focus had always been the on-side. My coach wanted me to work on the offside strokes since he was convinced of my ability and timing on the leg side. I worked hard and firmed up my defensive technique. I am happy getting runs all around the wicket now, and getting a lot of boundaries. No one calls me a 'leggie batsman' anymore.
My grandfather on my dad's side was the first in our family to settle in the U.K. He came from Pakistan on his own in the '60s and worked in a cotton mill in Bolton, earning enough to bring over the rest of his family. My dad, Shah, was only about eight when he came to this country. Like most immigrants, he has a fierce work ethic.
The problem is once you've written the opening paragraph and worked out how the rest of the story will go in your head, there's nothing in it for you. I write in longhand using disposable fountain pens on the right-hand side of the notebook for the first draft, then I rewrite some of the sentences and paragraphs on the left-hand side.
In West Texas, where I grew up, I had a wind farm planned. I'd gotten the turbines bought and the land acquired, and then the renewable energy credit imploded, and it killed the margins, so the deal never worked, but the investment bank I was working with asked me and said, 'We really like what you did. Would you come to work for us?'
I love to eat, and I don't believe in denying myself, so I have to work out. I'm not obsessed with it; I don't have a trainer or do any of the fancy classes, but I usually put on my iPod and run on the treadmill for an hour a few days a week. I'd much rather be the girl who worked out more so she could eat more; I could never not eat.
I had been wrestling with a fracture in my elbow and a slight tear in my triceps for quite some time, but it was continuing to get worse. As I worked through it, I ended up dislocating my shoulder and tearing my labrum. All of these injuries were on the same arm, so things like working out or even sleeping became increasingly difficult.
When I worked on a magazine, I learned that there are many, many writers writing that can't write at all; and they keep on writing all the cliches and bromides and 1890 plots, and poems about Spring and poems about Love, and poems they think are modern because they are done in slang or staccato style, or written with all the 'i's' small.
In my later years, I have looked in the mirror each day and found a happy person staring back. Occasionally I wonder why I can be so happy. The answer is that every day of my life I've worked only for myself and for the joy that comes from writing and creating. The image in my mirror is not optimistic, but the result of optimal behavior.
Mum worked as a secretary for Orson Welles for what sounded like a very miserable year. Her brother was the actor Jeremy Brett, who became famous for playing Sherlock Holmes. He was an absolutely lovely man. Very exciting and glamorous, he'd always make me feel amazing and full of confidence, like I'd picked the right thing to do in life.
Weird Al was something that kids would listen to. It's funny, super funny, smart. It's just kind of jokey. I remember hearing 'Smells Like Nirvana' before hearing 'Smells Like Teen Spirit.' That's how it really worked. I think it's just such a cool thing how he introduced us to so many cool bands. Even Queen - 'Another One Rides the Bus.'
I was focused on building things from an early age. When I was about 3, our toilet broke, and my mother was ready to call the plumber. I told her I would fix it and asked her to get my Richard Scarry book 'How Things Work in Busytown.' Between the picture of a toilet and the text she read to me explaining how the parts worked, I fixed it.
When I worked at Microsoft, I got to go and visit a bunch of different companies. Probably a hundred different companies a year. You'd see all the different ways they'd work. The guys who did Ventura Publisher one day, and then United Airlines the next. You'd see the 12 guys in Texas doing Doom, and then you'd go see Aetna life insurance.
Earlier, my priority was only work. I worked like a dog before I got married. After marriage, once you have a baby, time management is difficult. Your responsibilities change, your priorities change. And you have to concentrate on them if you have to work out your life. Your career is just a part of your life. For me, my family is my life.
My mother was the first African-American policewoman in Seattle - recruited, actually - and she did it for only 2 years, as she did not want to carry a gun. She worked mostly on domestic disturbances. The NAACP wanted her to do it. She did not actually have the temperament to be a cop - she was very sweet. She had a Masters in social work.
The culture of the mutual fund industry, when I came into it in 1951, was pretty much a culture of fiduciary duty and investment, with funds run by investment professionals. The firm I worked with, Wellington Management Co., they had one fund. That was very typical in the industry... investment professionals focused on long-term investing.
People don't know about the human part of me that really cares about the world. For instance, I don't know what I feel about wearing my furs anymore. I worked so hard to have a fur coat, and I don't want to wear it anymore because I'm so wrapped up in the animals. I have real deep thoughts about it because I care about the world and nature.
My engineer dad is where my technical acumen comes from. I remember him taking me to the factories to see how what works. Often he used to open up his motorbike to fix things and I saw how the wheels worked. His car used to be open for dissection very regularly. All this taught me and inspired me to look beyond what I could see on the skin.
I was very aware of office politics because I was so baffled by them. So much so goes unsaid. No one says 'you're a cheeky so-and-so,' no one says 'you're so moody,' nobody ever confronts anyone else about anything. But I'm very crass, and I'm very confrontational, and I have a temper. I had to be hyper-vigilant in every office I worked in.
My goal was always to be working on the biggest stage in the world: Hollywood. Even when I was doing 'The Bill,' I approached the work like it was a Hollywood classic such as 'Training Day' or 'Boyz n the Hood.' So to have worked with some of the greats I've admired, such as Forest Whitaker, Kathy Bates, Cuba Gooding Jr., etc., it warms me.
People who supported Obama felt like they formed a relationship, that they were being spoken to. The way that campaign worked and the way he's worked during his first term is to make people feel like he's grasping their hand, whether it's by tweeting or email, moments after an event, sometimes during an event. It makes people relate to him.
I've worked with actors before where I was like, this is not working, and then I've seen their work on the screen and I've been like, Wow, that was a really great performance. Because there are a lot of elements with film. It's not like stage. It's not a kind of performance art anymore; it's a highly tuned kind of collaboration - a symphony.
When we were doing 'Freaks and Geeks', I didn't quite understand how movies and TV worked, and I would improvise even if the camera wasn't on me. I thought I was helping the other actors by keeping them on their toes, but nobody appreciated it when I would trip them up. So I was improvising a little bit back then, but not in a productive way.
I like to act. I guess letting what you love be what you do is key. I've worked very hard for that to be the case, probably because I'm very lazy and I only want to do things that are fun and I run away from anything that feels like work... Acting for me is like lunch at school... you're just in a playground where you get to pretend and play.
Mum was born in 1938 in Guyana and came to Britain at the end of the 60s. She settled in Tottenham, north London, and worked for London Transport and then as a home help, a care assistant and finally a local authority officer. Bringing up five children singlehandedly with little money can't have been easy, but she did it with tremendous style.
Our democratic values also include - and our national security demands - open and transparent government. Some information obviously needs to be protected. And since his first days in office, President Obama has worked to strike the proper balance between the security the American people deserve and the openness our democratic society expects.
When I was 17, I worked in a mentoring program in Harlem designed to improve the community. That's when I first gained an appreciation of the Harlem Renaissance, a time when African-Americans rose to prominence in American culture. For the first time, they were taken seriously as artists, musicians, writers, athletes, and as political thinkers.
When I started, people would come to interview me, and just knowing that I worked in videogames - it was like people wanted to stone me, it was that bad. People thought of video games as kind of a bad thing in society. Now, people that come to interview me, they have grown up with video games, and they know what they are; they've experienced it.
I ushered at the Shubert in New Haven during graduate school when plays en route to Broadway still went out of town to try out. I worked backstage at summer stock doing jobs from garbage man to strapping on Herbert Marshall's wooden leg to fixing Gloria Swanson's broken plumbing in her dressing room with her yelling at me as I worked the plunger.
Werner Herzog, I knew him for so many years, when Fassbinder was at his highest moment. But we had a rule: An actor from Fassbinder could never work with an actor of Werner Herzog or Wim Wenders. Because if we would have done that, we would have been spies. 'Ah, you worked with Werner - how was it? How did he direct you?' I was Fassbinder's actor.