Why don't we save and invest in our future and start making the things that millions of Chinese consumers are going to want in the future.
I think we woefully failed to connect Britain to the growing Chinese economy in the previous decade, and I have sought to remedy that. China is now the sixth biggest trading partner with the UK. We have attracted now the lion's share of Chinese investment that is going into Europe.
I see no real argument in Britain that is concerned that an Indian company owns our most successful car manufacturer or that the sewer system under London is being renewed in part by Chinese investment. There are the odd voices that express concern but they are very marginal and they are not being listened to by the British people.
We were living with Bernard [Leach] in his home. He had a fantastic collection of early English and Japanese and Chinese and Korean pots and German pots, contemporary English work as well. And we had access to this collection.
I don't think that you can dispose of the constructive and inventive things that America is doing - and say, "Oh we aren't doing anything anymore and we are living off of what the poor Chinese do." It is more complicated than that. There is the example of Detroit which was once a very prosperous and diverse city. And look what happened when it just specialized on automobiles. Look at Manchester when it specialized in those dark satanic mills, when it specialized in textiles. It was supposed to be the city of the future.
One of the great things about design is that it's truly international. No one in the design industry would say, "This country is mine," or "I will make it look this way because it's for an American market and that way for a Chinese market." If you look at all of the Apple products, they are the same everywhere . . . I mean, I can't deny that I love traveling. It's a very healthy thing to be able to appreciate other cultures - or at least witness them firsthand. And all of that goes into helping someone be a good designer, because it's an international business.
Most Chinese filmmakers grew up watching television; they watched films on television, not in cinemas. The scope of their vision is not big enough, they're not yet detail-oriented enough. You have to watch films in cinemas for years to understand the depth and scope of vision needed in filmmaking. Directors in China usually come from an academic background; they graduate as film directors. Whereas the directors from Hong Kong learn their trade on sets, beginning at the lowest rung.
I think my function working in China is to bring my experience and what we've gone through in the Hong Kong industry to China. I hope there'll be more and more new Chinese companies with vision, that understand producing and film financing. My plan for the future is to work with as many new companies as possible, to pass on my experience as to what is commercial film.
I never felt like a Chinese citizen because I was pushed away at a very young age. My father, a writer, was a national enemy of the Communist Party. He was forbidden to write for 20 years. We literally lived underground. We dug a hole and lived there for years. My father cleaned public toilets, even though he was a highly respected poet. Nationality and borders are barriers to our intelligence, to our imagination and to all kinds of possibilities.
I think I'm just a traveler. When you walk across a river and there's no bridge, you build one. I'm used to having to deal with Chinese Communist ideology - it's not really an ideology, but a method of control. But China's problems are not just China's problems - they're human problems. Humanity has always worked better when you see it as one.
So many women now in China are entering the workforce and also taking up very important positions CEOs, for example. The problem for many such women now is how to balance all the different kind of responsibilities that they take on and that they want to take up. They have to balance family and work and maybe kids. Chinese woman really have a strong desire to do that. They want to grab a hold of all these things. They are willing and able. But there is the challenge of how to keep the balance.
I appreciate it if I make a Chinese film. And if there is an opportunity to make a Hollywood film, I will take it - especially because, as you probably know, in Hollywood, even today, there are not a lot of big roles for Asian performers. So it is a great opportunity. It is possible to make films that people everywhere enjoy. I travel quite a lot. I don't really feel like when I am in China, I am a Chinese person and when I'm here, I'm a foreigner. I don't feel that kind of difference anymore. In the past I did. Not anymore. I feel quite at home everywhere. The whole world is my home.
There are a lot of Chinese-American designers and Chinese designers who have had an impact a little bit on the American market, but I think it's going to be interesting to watch if, over time, somebody can emerge from China who is based in China, and whether they come and show in Paris, like Rei Kawakubo or Yohji Yamamoto did.
I heard that senior officials in China and the United States were discussing whether to encourage a coup in North Korea to get a more pliable ruler. So I've taken steps to ensure that this can't happen. The man in our government closest to the Chinese, who could have arranged such a coup attempt, was my uncle. The man who would have been my natural replacement was my half brother. Both have been liquidated, as have more than 100 disloyal high-level officials.
My mom is Jamaican and Chinese, and my dad is Polish and African American, so I'm pretty mixed. My nickname in high school was United Nations. I was fine with it, even though I identify as a black woman. People don't realize it hurts my feelings when someone looks at my hair or my eyes, and says, "But you're not actually black. You're black, but you're not black black, because your eyes are green." I'm like, "What? No, no, I'm definitely black." Even some of my closest friends have said that. It's been a bit touchy for me.
I would have conversations with European artists. Meaning, people look at my painting and one person would say, "Oh, your painting is just like so-and-so!" Another person would say, "It's just like so-and-so." But at the end, it's a chain of relay like a marathon. There are so many so-and-so's that eventually it becomes mine. My dialogue was completely European, with the '40s, '50s, '60s artists, but on the exterior side I do big painting. It's post-Pollock. It's current. It's a meeting of the time. The Chinese side just comes out.
The true essence of Chinese culture is sophistication, refinement, the spirit of poetry. The spirit of ink painting and calligraphy lives on forever. Calligraphy is more important than painting. Chinese always consider nature. Man is a very small part of nature. That's why in Chinese painting you see huge mountains and man very small, very humble before nature. You must be harmonious and one with nature. You don't fight it. And then there's a bit of a poetry. Of course, it's very complicated, but also very simple.
I wish that Google would realize its own power in the cause of free speech. The debate has been often held about Google's role in acceding to the Chinese government's demands to censor search results. Google says that it is better to have a hampered internet than no internet at all. I believe that if the Chinese people were threatened with no Google, they might even rise up and demand free speech - free search and links - from their regime. Google lives and profits by free speech and must use its considerable power to become a better guardian of it.
Have you noticed that every one of these candidates for Presidency say: "Barack Obama's weak, Vladimir Putin's kicking sand in his face. When I talk to Putin, he's gonna straighten out. Just looking at him I'm gonna - he's gonna be - " and then it turns out they can't handle a bunch of CNBC moderators at a debate. I don't think the Chinese and the Russians are gonna be too worried about you.
We separated like oil and water. In the cafeteria, you'd see a table of black jocks, table of white jocks, table of rich white kids, table of Hispanic kids, table of Chinese kids, table of druggies, table of chatterboxes, and so on. Wait! There's a diverse table over there! With a few kids of different tenacities and economic status! Oh, that's the nerds. That's where I sat. We weren't cool enough for the other tables, so we didn't discriminate against anybody.
I like the Chinese proverb: If a horse is yours, it will always come back!
We, in the New York Times, have not yet figured out how to grow our international readership. We started a website in China, which the Chinese government has blocked, but it has a pretty healthy readership. The Guardian, for instance, has gotten tremendous growth through its website in the US. We have to figure out how to go after readership in different parts of the world.
When Allen Ginsberg was still alive, he was was an artist, but he was very local. He was just another wing-nut in the neighborhood and he was very accessible. You'd see him in Tompkins Square Park or in the local delicatessen, in one of the greasy spoon restaurants on First Avenue or a Chinese restaurant.
If you are going to stick to the truth then you need to keep your distance from the Chinese government and indeed to any form of politics, including the politics of democratic countries.
The attack on the law firms and attacks like that are industrial espionage, searching for copyrighted materials to lift and so on; it's not quite the same as cyber-warfare. They are regarded as related. The Chinese are trying to steal an economic march on the West, which is a consequence of the fact that we outsourced all of our manufacturing to China in the 1990s.
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