If you don't love your work, it's hard to love your life.
If I have a problem, I want to work it out, right now.
One of my favorite things being on movies is that when you're working, it's the best thing that's ever happened, and then in the downtime, you socialize and go to dinner.
I'm wearing pajamas, every day, at work. It's the best thing, ever!
You get notes from two studios and a network instead of a studio and a network. Although we early on forced them all to do their notes together. I make them all talk to each other first. Because we went through the pains of getting notes from ABC and at the time it was Touchstone, that were opposite - and then CBS notes that were opposite again. So it was, you guys are going to have to work it out as to what is the most important note.
Over the years, I discovered over and over again that once you lose control, you have a chance of getting good at it. And once you're controlling the work, it's not going to be very good, or it won't be as good as it should be.
If there's an enduring theme in my work, it's probably the effects of class on American life.
For me looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. Place is found by walking, direction determined by weather and season. I take the opportunity each day offers: if it is snowing, I work in snow, at leaf-fall it will be leaves; a blown over tree becomes a source of twigs and branches.
Looking, touching, material, place and form are all inseparable from the resulting work. It is difficult to say where one stops and another begins. The energy and space around a material are as important as the energy and space within. The weather--rain, sun, snow, hail, mist, calm--is that external space made visible. When I touch a rock, I am touching and working the space around it. It is not independent of its surroundings, and the way it sits tells how it came to be there.
Transcendent Oneness does not require self-examination, self-help, or self-work. It requires self-loss.
I had to act in a school play when I was about ten years old. I really didn't want to do it. But everyone had to do it so I didn't have a choice. A talent agent came and watched it and later gave me some work. It's funny because I'd always known that I wanted a movie career. I just didn't think that I would be in the movies.
I think when I was younger, I wanted to be a star, until I became a star, and then it's a lot of work. It's work to be a star. I don't enjoy the stardom part. I only enjoy the creative process.
It always does seem to me that I am doing more work than I should do. It is not that I object to the work, mind you; I like work: it fascinates me. I can sit and look at it for hours.
The human ego prefers anything, just about anything, to falling, or changing, or dying. The ego is that part of you that loves the status quo – even when it's not working. It attaches to past and present and fears the future.
It's the most exciting thing to watch God work when I've asked him about something, to listen to him and watch him work. It's like this friendship, and it just grows and grows and grows and grows.
Nothing that doesn’t push you past your limits can change your life. It’s true of work, it’s true of parenting, and it’s true — a hundred times over — of love.
In a world where concepts are so often deployed in an ad hoc fashion, half explored before being displaced by others, it is immensely refreshing to encounter such serious and sustained attention to the building blocks of inquiry—and to the responsibilities thereby incurred. Designs on the Contemporary is a work of profound importance to the philosophy of anthropology. In conjunction with Rabinow’s other works, it creates a nonpareil, a configuration of thought with no equal.
Right now in American writing there is no genre as exciting as memoir - the writer can do anything, as long as it works. It's like the 1920s up in this joint. So, I'd say, experiment with how you tell the story. In the best memoir it's not the what, it's how the writer tells the what - meaning and effect through form.
Work kills no one, but worry has killed multitudes… Worry not only saps vitality and wastes energy, but it also seriously affects the quality of one's work. It cuts down ability. A man cannot get the highest quality of efficiency into his work when his mind is troubled. The mental faculties must have perfect freedom before they will give out their best. A troubled brain cannot think clearly, vigorously, and logically.
We haven't been on the same page in years. It is what it is. Sometimes that match burns out. So, no, I don't feel bad about it. It's good. I'm grateful for everything we have done throughout our careers and if there's nothing else to put out, then there's nothing to put out. I'm constantly writing and working. It doesn't stop there.
I'd be cheating everyone here, the staff and rest of my teammates, if I wasn't able to stay on top of my work. It was almost like therapy, to come back and get in an environment I'm comfortable with.
"I think you're begging the question," said Haydock, "and I can see looming ahead one of those terrible exercises in probability where six men have white hats and six men have black hats and you have to work it out by mathematics how likely it is that the hats will get mixed up and in what proportion. If you start thinking about things like that, you would go round the bend. Let me assure you of that!"
After a year of doing general farm work, it was quite clear to me that chickens and I were not compatible.
The manager's function is not to make people work, but to make it possible for people to work.
I wouldn't want to direct. I see how much work it is.
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