Ellen Forney Quotes
For one thing, I don't think art needs to be about suffering; sometimes it really seems like it's only the art about pain that is interpreted as profound, and in my work for years I've really tried to deal with subjects that are substantial, not just fluffy, but presented in a more playful, approachable kind of way.
Quotes to Explore
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I joined the Actors Studio and began to work with Lee Strasberg, and that changed my work.
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Since I was a child, I have had this feeling that the most important work I'd do would be with my family.
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What can you do if a part of it is uphill? You can't work out another route. You've just got to run the one they give you. But they tell me London is a nice course. Even the cobbles, I hope, are not very much of a problem for me.
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My best work is often almost unconscious and occurs ahead of my ability to understand it.
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Getting into the residential investment business entails lots of renovation work.
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I saw a '60 Minutes' piece on Google as a place to work. It was such a foreign concept from what I understood as a regular job. There's free food, sleeping pods, Ping-Pong. I'm the kind of guy who likes to get involved in everything - I'd be all over the Ping-Pong.
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They're not poodles, they're art.
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I don't always have the best eating habits. I like butter and ice cream. There are days when I should work out and I don't. But it's never too late to change old habits.
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I feel the art world in New York has a stronger following than Britain. If you go to a New York art district on a Saturday morning, it will be so busy with families and openings - art is much more ingrained in the culture.
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Art is a mind-game that we do to make our lives easier. If it isn't for that, it becomes superfluous.
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Many attempts have been made by writers on art and poetry to define beauty in the abstract, to express it in the most general terms, to find some universal formula for it.
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I work with the Humane Society a lot and have three rescue cats.
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We need a more strategic, coordinated, statewide plan that identifies high-demand jobs or industries with a projected under-supply and offer training to get these Oregonians to work.
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I think one of the primary themes in my work is the paradox of memory, at once fundamental to our sense of who we are and yet elusive, ever-changing, fragmentary. One way to look at this is to say that, therefore, we ourselves are elusive, ever-changing and fragmentary to ourselves.
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I've never seen hard work fail.
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Sometimes at night, when I leave and ride by the front of the White House and the lights are on, it is so beautiful, I have some sense of, 'Hey, that's where I work, and Jimmy is President now.' But day in and day out, it's a job.
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Life is not an exact science, it is an art.
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I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.
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Between Twitter and Facebook, early word of mouth for a film can destroy it immediately or take something you've never heard of and make it a huge hit.
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Besides, when you say you're a feminist it annoys the bigots and the old farts and the prissy ladies so much, it's kind of irresistible.
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Once you decide that it is the art that is important and not how popular and well received you are, you no longer have an albatross
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For one thing, I don't think art needs to be about suffering; sometimes it really seems like it's only the art about pain that is interpreted as profound, and in my work for years I've really tried to deal with subjects that are substantial, not just fluffy, but presented in a more playful, approachable kind of way.
