Dee Hock Quotes
Quotes to Explore
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We would betray Mexicans' hopes for change if we felt satisfied with what we've accomplished so far.
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I knew I would read all kinds of books and try to get at what it is that makes good writers good. But I made no promises that I would write books a lot of people would like to read.
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You don't need expensive classes and all kinds of weird equipment if you really want to be in shape. There are great ways to do it that are very economical, it just takes a time commitment, even if it means waking up a half hour a day before the rest of the household gets up because that's the only time you have.
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I feel to look for perfection is a very dangerous path. More than that, it's dangerous because it doesn't exist. You can aim for it, but you already know you won't get there because it doesn't exist. Plus, I definitely think the flaws, little cracks, and accidents are a lot more interesting.
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I've never used my weight to get a laugh. That is, used my size as the subject for humor. You never saw me stuck in a door-way or stuck in a chair.
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I'm dying, and I'm having fun.
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When team members trust each other and know that everyone is capable of admitting when they're wrong, then conflict becomes nothing more than the pursuit of truth or the best possible answer.
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I always try to remain aware that what affects others affects me, too.
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When you are a photographer, you work all the time, because your eye is the first camera.
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I am always worried that over-planning and outlining will kill the magic of writing; most of the world I created in 'California' occurred via good old sexy sentence-making.
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It was only a few years ago that I couldn't get hired to save my life.
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Your plays are always personal. You can't help seeing yourself in the serial killer you've just written. But they get less specifically personal.
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In a sense, there's a great truth to that, but, also I was a great reader.
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I'm a normal person and I don't have superpowers! I do normal things, too.
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There's no reason that there has to be a fringe network that illuminates an urban or a multiethnic experience.
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When I was in university, my dream was to be a coach, like a high school track coach. Not to teach.
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You show up in Paris, and on the drive from the airport to the hotel you're like, 'This is so cool! I want to see something! I want to go to the Eiffel Tower!' And then you leave the next morning. You think, Oh, I didn't get to do anything. I tell people: I've been just about everywhere, but I've seen nothing.
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I think women of our generation went through Cultural Revolution, went through hardship, coming from nowhere, and suddenly see China's amazing opportunity. So women just seized the opportunity.
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I just go out and try to make sense of the world around me.
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Changing professional expectations and technological tools have created an impossibility of balancing work and life.
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I made that decision back in 1985. I was out here getting certified in SCUBA with Garcia in Kona and I thought to myself, this is a place to wake up in in the morning.
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As a producer, you're pretty much creating a body of work that an artist has to stand behind.
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Substance is enduring, form is ephemeral.
