E. M. Forster Quotes
The work of art assumes the existence of the perfect spectator, and is indifferent to the fact that no such person exists.
Quotes to Explore
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At the beginning of all experimental work stands the choice of the appropriate technique of investigation.
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I have been offered a lot for my work, but never everything.
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Besides black art, there is only automation and mechanization.
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The most overrated tool: a pasta maker. Why make it when you can buy it? It's a lot of work!
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Sony is the coolest studio. They are really amazing. I think part of it comes from they're not an American corporation. They don't work by quite the same rules. And their studio heads have a lot of autonomy.
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Whenever I get an audition to do something that is sci-fi-related, it makes me really happy because I realize that I can continue doing the work that I'm doing and continue meeting people all over the world. It does baffle my management team sometimes, though!
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If you are playing someone living, it is a different type of judgment. However much work you do, it is not a documentary. There will be things you can't get right, and ultimately, you have to take a leap because - you weren't there.
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The workingmen have perceived that women are in the field of industry to stay; and they see, too, that there can not be two standards of work and wages for any trade without constant menace to the higher standard.
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We need to accept that consumption is not the end goal of our life and stop measuring our well-being simply on the basis of earnings. We need to explicitly take the quality of our work-related life into account in judging our well-being.
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It was really really neat to make the movie because there were mentally challenged actors in the movie. So that was really really cool to work with them and they were always really happy, and they made everybody really happy on the set too.
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I feel like now fashion is just part of how I think about everything. When I send out a mood board to our contributors every month about our monthly theme, there are photos from our fashion shows, but there are also film stills and album art.
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Work is both my living and my pleasure.
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I never really grasped how big it was when I initially got 'Alexander'; I thought, 'Ooh, this is exciting,' but after I got home, I looked back and thought, 'That was an incredible experience.' I got to work with some massive names in Hollywood, and I learnt so much, and then it really kind of struck me how life-changing it was.
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I had a bad experience doing public speaking at school. I had to talk about a pen for five minutes and it was really hard work. I couldn't wait to get off the stage.
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I always say, one way to connect with a working mother is to ask her what she has done before work that day!
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I work with all these amazing voice actors that do a kajillion voices.
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Nothing changes and very little happens in Paris. This is a great place to work without distraction - and then I run away to New York, where I have a life!
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I don't attempt to make people uncomfortable; I think that my standards in terms of art and journalism always have necessitated my discomfort.
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I associated it the word 'Hourloupe', as title of his longest series of work he made exclusively from 1962 to 1974 by assonance with 'hurler' (to shout), hululer (to howl), loup, (wolf), 'Riquet à la Houppe' and the title of Maupassant's book ‘Le Horla’, inspired by mental distraction.
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When self-delusion and self-flattery enter the mind-set of a product team and the metrics they judge themselves by, like the first plague rat coming onto a ship, the end is practically preordained.
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I have always said that, more than 'big bang' reforms, it is every day what is happening, changing on the ground.
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Never be afraid to ask when you don't understand. It sounds like a little thing, but awful things have happened, international incidents have flared, and markets have collapsed just because people couldn't make sense of what was being said. They didn't ask 'why?' because they thought it would make them look stupid.
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Extreme poverty is extremely dangerous.
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The work of art assumes the existence of the perfect spectator, and is indifferent to the fact that no such person exists.
