Maura Tierney Quotes
What I look for in theater, I really like new work, and I really like the concept of age not necessarily being a defining aspect of who you are or how you act.
Quotes to Explore
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I often joke that I straddle psychosis and neurosis, and that being an artist keeps me in the middle, so I can work between the two.
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I have never used Auto-Tune in a live television performance, and I have never used Auto-Tune in any of my concerts. That is a promise.
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When I hit my 20s, I took a chill pill and relaxed because throughout my teens I was churning out an album a year. It was a treadmill of work then recording, promoting and touring.
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I was a little, uh, incorrigible as a kid, so the kitchen was a good place to give me structure and balance. It taught me hard work, but then I grew to love it.
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It seemed to me that the real philosophical breakthroughs of the 20th century were in terms of the understanding of language. What is language? Where does it come from, how does it work, what does it do?
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Usually when you're working is when people want you to work. They don't want you as much when you're not working. That's the frustrating nature of our business.
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To be free in an age like ours, one must be in a position of authority. That in itself would be enough to make me ambitious.
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I am very much aware of my own double self. The well-known one is very under control; everything is planned and very secure. The unknown one can be very unpleasant. I think this side is responsible for all the creative work - he is in touch with the child. He is not rational; he is impulsive and extremely emotional.
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But generally I am fine with a capital F; probably in extraordinary shape for a man of my age.
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I have very long, wild hair, a suntan and wear knee high boots and ignore all the rules about what you should or shouldn't wear at whatever age.
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I am bullish on the global development. I am bullish on billions of people getting out of poverty.
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Be aware of who in your life is actually interested in hearing you discuss your writing, and who's just asking to be polite. Listening to writers talk about their work is often excruciatingly dull.
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Many young adults I have communicated with - both in-person and over email - constantly apologize before stating their idea, or finish each sentence with a question. Unfortunately, doing so in business puts you at an immediate disadvantage with your boss and work colleagues.
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There's not a day that I don't work on vocals, have vocal coaches, go to acting classes, read books.
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Even today I work with Niall O'Brien, who is far more technically astute than I am, but I still have the clearest idea of every detail I want in my photograph.
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The real composer thinks about his work the whole time; he is not always conscious of this, but he is aware of it later when he suddenly knows what he will do.
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The reader has to be creative when he's reading. He has to try to make the thing alive. A good reader has to do a certain amount of work when he is reading.
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Cover the canvas at the first go, then work at it until you see nothing more to add.
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I think within Japan there is talk about how there is the need to reassess the future of the U.S.-Japan alliance.
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The hard part (of communication) is hearing criticism so it can be easily given.
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I'm always so inspired by Jeff Eastin's writing.
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Then there is the further question of what is the relationship of thinking to reality. As careful attention shows, thought itself is in an actual process of movement.
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The Globes are voted for by anyone in L.A. who's ever written for a foreign newspaper or magazine. That means, like, Romanian cookery writers.
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What I look for in theater, I really like new work, and I really like the concept of age not necessarily being a defining aspect of who you are or how you act.
