Work Quotes
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I believe that it's an author's job to cast his imagination into the far spaces. Your life should - and I think it's inescapable that it will - inform your work. I'm all for using anything that can make your art better, but your intuition should be an equal partner.
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It's amazing how fast generations lose sight of other generations. One of the first things the young composers who come to work with me say is that they want to write music people will like, instead of gaining their credentials by being rejected by the audience.
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I feel it most in my work, because there aren't roles about women who are spiritually evolving. That anyone would even write something like that, something that's worth doing, would be a miracle!
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According to the Upanishads, the complete aspect of Truth is in the reconciliation on the finite and the infinite, of everchanging things and the eternal spirit of perfection. When in our life and work the harmony between these two is broken, then either our life is thinned into a shadow, or it becomes gross with accumulations.
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For a long time, it was hard for me to get my work done in Chicago. Silk Road gave me opportunities to do shows like 'Golden Child' - shows that nobody else seemed interested in. And they bring an artistic integrity to the work that matches anything you'll find at a bigger theatre.
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I find that balancing my life with my work with the kids at St. Jude, working on books, working on my career as an actor and taking time out for my husband and family help to cushion a lot of the blows.
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Just having the internet is a weird and dangerous thing because people become accustomed to knowing things when they want to know them and not having to work for it. I definitely see the value in not knowing everything and having mystery in life and mystery in people.
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I love the classic marble inlay work of Arga.
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My mother has never been involved in my professional life. I am very close to my mother but we keep it on a mother-daughter basis and not a work-related basis.
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There's something Zen-like about the way I work - it's like raking gravel in a Zen Buddhist garden.
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My father was a middle manager at an oil company, but I never knew anything about his work. Whatever business acumen I have just got gleaned over the years.
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I don't care who's No. 1 on the call sheet or how big my trailer is. I care about the work. I don't care who gets the laughs. I just care that the laugh comes.
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I see a steady downward slope toward oblivion over the next three years. I'm pessimistic. Everything that's happened to me so far has been kind of flukey. I went into Twentieth Century because I wanted to work for Hal Prince. The part was too small according to my agent. I had been doing only leading parts, and he thought I should continue that. But the part was enlarged in rehearsal: songs were added, and it became more physicalized and showy. Then I won awards and got attention.
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It's great to work in film and TV, and I love it, but there's nothing that can replace that instantaneous storytelling you get in theater.
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By reading, you learn through others' experiences, generally, a better way to do business, especially in our line of work where the consequences of incompetence are so final for young men.
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I just really want to continue on the same intensity of work ethic, I don't want to slow now. I'm 21-year's old and I feel like this era and a few years to come are my prime years, so I want to utilise them.
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When I was in Japan, everyone wanted to work for Pierre Gagnaire, and they wouldn't miss a beat.
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I love Philip Glass' work, not only as a film composer but also as a musician. The film score work that he does always amazes and shocks me.
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I personally think that people should get the book because it is like a blueprint. It shows you the work that needs to be done if we're ever going to get economic equality, health, reproductive health, violence. I mean, it's every category.
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We still have a lot of work to do in American culture. More open-mindedness is happening - in some cases rapidly, in some, slowly.
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Young adults living with a stutter is hard work. How do they handle job interviews? What do they do when the phone rings? How do they 'chat someone up'? All these things the average person takes for granted prove to be a stammerer's biggest challenge.
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The studio is a place where I can experiment before I'm prepared for an idea to become a body of work, or a new way of working, or a way of working that can sustain me over a period of time.
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I went back to graduate school with the clear intention that what I wanted to do with my life was to improve societies, and the way to do that was to find out what made economies work the way they did or fail to work.
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And then what makes the work interesting is if you choose the right questions.
