Sam Taylor-Wood Quotes
I'm motivated every second by my work; it doesn't switch off. The pictures I make come from every blink of my lashes.
Quotes to Explore
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I always try to keep a little bit of space in the year to work with other people. Because I love doing musicals, films and plays - projects where I'm not in charge, where I've got somebody else telling me what to do and I have to work with their vision.
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I promised my mom that if, after a year of putting 150 percent into my career it didn't work out, I would go back to school. I never did go back.
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When I went to drama school, I knew I was at least as talented as other students, but because I was a black man and I wasn't pretty, I knew I would have to work my butt off to be the best that I would be, and to be noticed.
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I think when you're dealing with very tenuous scenes and difficult and heavy subject matter, it's important to be close intimately with your cast as friends, and be able to diffuse a lot of that tension and trust each other with the work.
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It's good to keep in mind that prominence is always a mix of hard work, eloquence in your practice, good timing and fortuitous social relations. Everything can't be personalized.
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I've always respected and appreciated Punk, but we never really hung out. We came from the same route, but we didn't necessarily hang out in the same circles. I've always had a great appreciation and respect for his hard work.
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It's because of 'ER' that I've gotten the opportunity to get the work.
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You have another little drink, and I'll have another little drink, and maybe we can work up some real family feeling here.
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Our contribution purely depends on our consciousness and our willingness to support those in need, to show vulnerability and accept the support of others, to share without expecting the credit, to give it our all and allow our hard work to decide the outcome, to understand that control can only be achieved with a shared responsibility.
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Nazanin Zaghari-Ratcliffe was not engaged in subversive work; she was an apolitical project manager with the Thomson Reuters Foundation, the charitable arm of the Reuters news agency.
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My best work is often almost unconscious and occurs ahead of my ability to understand it.
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I live in Rome and five minutes from my flat is a church where you can walk in and see this beautiful Caravaggio. Just the way this man uses dark paint: dark to create dark to create dark, the layering of the darkness in his work. I just race home: I want to create!
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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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I need to work to feel well.
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My CIA colleagues were smart, dedicated, funny, and creative. Yes, there was sometimes stifling bureaucracy, boredom, colleagues who never should have been there, and later, deeply disturbing stories of the CIA's involvement in torture. Still, I got to do work I thought was incredibly important and, many times, had fun doing it.
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I spend a lot of time talking to women interested in office about how they can make it work.
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I've never been someone that was sort of blessed with an innate talent of just being able to do things. I had to work at it and learn from mistakes.
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We tried every single way of giving birth. It didn't work. I wasn't too crazy about having to do a C-section and take all the drugs. Finally, I just had to be like, 'Let it go.'
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I understand the dignity that comes from work and caring for one's family.
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I've always loved the language of flowers. I discovered Kate Greenaway's 'Language of Flowers' in a used bookstore when I was 16 and couldn't believe it was such a well-kept secret. How could something so beautiful and romantic be virtually unknown?
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If you're playing a good guy, you show some darkness. If you're playing a dark guy, you show something different, like humor, that will mix it up and hopefully surpass the audience's expectations. What I'm battling all the time is complacency in the audience. I try to bring a little mystery to what might happen because that engages people more.
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His eyes measured the little chamber. How two people could survive in so small a space was as difficult to grasp as the conventions in contract bridge. Perhaps there was some simple key that would solve the problem, and he would have the subject of another book.
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To have an opportunity to get in front of a camera every single day is just priceless because it gets you closer and closer to being less self-consciousness in front of it and really being human and really making choices and standing by them.
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I'm motivated every second by my work; it doesn't switch off. The pictures I make come from every blink of my lashes.
