Matt Mullenweg Quotes
Quotes to Explore
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I've been writing a lot of poetry recently. It helps me think and work things out.
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I have just begun a work in which an important part is given to a large chorus and with it I want to use several of your instruments - augmenting their range as in those I used for my Equatorial - especially in the high range.
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I have said this many times, that there seems to be enough room in the world for mediocre men, but not for mediocre women, and we really have to work very, very hard.
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It's obviously nerve-wracking, because I don't know the ropes really, William is obviously used to it, but I'm willing to learn quickly and work hard.
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I go where the material is, and I feel like I'm looking for really strong directors. That's the key ingredient. There are some directors I would move the sun and earth for, or stop the rotation of the planets, just to work with them.
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I often have said to people that there are really two cities in the country where the outlook is always forward-looking - there is never really a backward-looking tendency. My banking work has taken me out to Palo Alto, what is commonly called Silicon Valley. And you sense out there is always a forward-looking outlook. And New York City.
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How are the cabs in your city? In Manhattan, where I work, they are rather awful.
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We all present versions of ourselves. The person you are at work is not the same person you are at home. The face we present in our most intimate relationships is not the face we present to the world.
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Writers always have confidence issues - it comes with the territory. We never know where we fit in, or what the actual value of our work might be. So we hit lulls, or slogs. Throw in the idea that many creative people are somewhat manic-depressive, and it can get pretty dark at times.
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I'm not an isolated person. The more I connect to people, the more I have the feeling that things work.
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Playing baseball is fun. If I could play, I'd never retire. But managing is work. It's constant decisions of whose feelings you want to hurt all the time.
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This old notion that work is drudgery is nonsense. Most days, even back when Xerox was under siege, I could not wait to get to the office.
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All the stuff that you visualized that was going to work so beautifully, you discover is trashed, so you jump to something else.
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Everyone's like, 'Oh, you must live in L.A., the glamorous life,' and I really don't. I'm in a small house, in Pittsburgh, in the snow.
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I've learned not to hide behind a veil of irony - to talk about my work in a more honest way.
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I want people to be drawn into the space of the work. And a lot of people are like me in that they have relatively short attention spans. So I shoot for the window of opportunity.
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It's not blaming the victim. It's not anybody's fault. They just did something that didn't work, that's all.
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I love to work in all sorts of different situations.
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My early childhood memories center around this typical American country store and life in a small American town, including 4th of July celebrations marked by fireworks and patriotic music played from a pavilion bandstand.
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My first Comic-Con was when I first met Joss Whedon: He introduced me to that world and I'd never been to a convention before that. He and a bunch of the 'Buffy' and 'Angel' writers were all going down in a big van and he invited me along.
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There are just so many young designers now.
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Imbued with the desire to secure for the German people the great religious, moral, and cultural values rooted in the two Christian Confessions, we have abolished the political organizations but strengthened the religious institutions.
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I don't have big ideas. I sometimes have small ideas, which seem to work out.
