Nan Goldin Quotes
That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.
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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The fundamental importance of the subject of molecular diffraction came first to be recognized through the theoretical work of the late Lord Rayleigh on the blue light of the sky, which he showed to be the result of the scattering of sunlight by the gases of the atmosphere.
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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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Together with international unity and resolve we can meet the challenge of this global scourge and work to bring about an international law of zero tolerance for terrorism.
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I'm involved in music and fashion a lot more than I used to be, so my style has definitely changed - for the better, of course. It's given me greater insight into what colours work, what looks good on camera, and what I feel comfortable in.
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To praise it would amount to praising myself. For the entire content of the work... coincides almost exactly with my own meditations which have occupied my mind for the past thirty or thirty-five years.
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The lessons from the peace process are clear; whatever life throws at us, our individual responses will be all the stronger for working together and sharing the load.
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In the 1970s and 1980s, I got to do some great work. The Oscars are really nice, but the best part is that I had the opportunity to do that kind of work.
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You can't get emotional about your work.
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For my own part, I had rather suffer any inconvenience from having to work occasionally in chambers and kitchen... than witness the subservience in which the menial class is held in Europe.
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It might be said that it is the ideal of the employer to have production without employees and the ideal of the employee is to have income without work.
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Spiritual life can certainly follow the pattern one sees in the fake martial arts, with most teachers making nebulous and magical claims that never get tested, while their students derange themselves with weird ideas, empty rituals, and other affectations.
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Quality is everyone's responsibility.
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If haters or whatever want to find you - I mean, some of them are so tenacious. You want to hire them to work for you. They're very, very savvy in terms of how they find you and get to you.
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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 have reaffirmed my political will to work towards national unity.
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I mean, we sit around and we go, you know, 'Torture doesn't work.' Well, it's been around for 5,000 years. Most stuff that doesn't work goes the way of the dodo pretty quick, like waterbeds and 8-tracks and things like that.
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I like to come into my workspace and feel it's a living environment and not frozen, which is why I often change or add to the pictures on the wall.
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I was elected to come to an incredibly dysfunctional capital and make the government work better, and that's what I'm doing.
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There are characters that have made me uncomfortable. I did a film called 'Rob Roy,' and I played Killearn, who was this sort of greasy fallen-angel character who was voyeuristic and sleazy and really unpleasant. It was a great role, but I didn't especially enjoy living with this awful man for the length of time it took to make the movie.
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I wrote about 22 plays before 'When You Cure Me,' which was staged in 2005. I occasionally get them out and have a read, thinking maybe there's a thought or an idea or even a turn of phrase that I could use for something new. There's not. They're dire.
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I love a good harsh horror movie, when it's done well. But there are times when it feels cynical. You can tell when a filmmaker loves the genre, and you can tell when someone's just cashing in a paycheck. Then it becomes a dumbing down - a fetishisation of violence that I react very strongly against.
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That's where I got the idea to paint the walls of the gallery with varied colours [at the Whitechapel show]. I tried to figure out how all these Renaissance paintings manage to work together.
