Quotes of All Topics . Occasions . Authors
All my work begins with drawings.
All my work is about how it feels to look.
All my work is much more peaceful than I am.
I hope there's some kind of morality in all my work.
I want my children to see what all my work leads to.
All my work is always that exploration of human nature.
My entire soul is a cry, and all my work is a commentary on that cry.
The landscape of Texas is in all my work. It's that light; it's that sky.
Fire is one of my temperaments. It is behind all my work... Fire is a chemical presence.
All my work shares a kind of balance between black comedy and sad and despairing melancholy.
In all my work I like to convey the fact that I like cooks, that it's noble toil and that it is hard.
I have been doing a lot of web shows but with so many platforms around, you can't binge on all my work.
I've heard Simon Cowell is awake all through the night... To be honest that is when I get all my work done.
All my work comes from perceiving. I kept seeing things that were brooding in me. I'm not a geometric artist.
I locate that special problem in a character and then try to understand it. That's the genesis of all my work.
I keep all my work and files and kung-fu movies on my laptop because sometimes you travel, and the Internet is slow.
If you asked me what is the basis of all my work, it's the feeling there's something basically wrong with human beings.
In all my work, I try to say - 'You may be given a load of sour lemons, why not try to make a dozen lemon meringue pies?'
There's a very important aspect to all my work, now more than ever, which is tying the interior design and architecture with the art.
I'm a big believer that the reception is not the endeavor. And what I enjoy about almost all my work is the endeavor, the doing of something.
Nobody's seen all my work. No one. No one in the world has seen all my movies. Some things just never came out... some things may still come out.
All my work is not personal - I've been trying to get away from that into the true self underneath all the tastes and things we think make up a self.
I got all my work done to graduate in two months and then they were like, I'm sorry, you have to take driver's ed. I just kind of went, Oh, forget it.
It's really important, whether you're a conservative or a liberal, to always challenge the conventional wisdom, which is what I've tried to do in all my work.
I believe that all my work explores the human desire or obsession for utopias, and the structure of all my works is the search for utopias lost and rediscovered.
I find that through all my work, I really get to see and feel energy, health and vitality between people and their surroundings and how they interact with each other.
I spent my 20s working in patient care at a large university hospital, an experience that has informed all my work and has given me a lot of human observation to draw on.
In almost all my work, I try to re-invent Christian images and stories and themes. You'd be amazed by the letters I get from young Christians who recognise this and enjoy it.
My philosophy through all my work, be it on canvas or on the street, is about pushing boundaries and not going with the flow because everyone else is doing something a certain way.
If there's one theme in all my work, it's about authenticity and self-expression. It's the idea that some things are, in some real sense, really you - or express what you and others aren't.
With all my work, I have not more, with my shares in the bank and the Academy, than twelve or thirteen thousand reales a year, and with all this, I am as contented as the happiest man on earth.
I was greatly influenced by musique concrete when I was, like, 10. I was completely mesmerized by the idea that you could make music out of sounds. So that's been a constant influence on all my work.
I've always worked on bipartisans, whether it's on healthcare, drug reform, et cetera. All my work is bipartisan, because what I'm - as nonpartisan actually, because I look for solutions. I'm very practical.
I would say that I quite consciously rely on my obsessions in all my work, that I deliberately set up an obsessional frame of mind. In a paradoxical way, this leaves one free of the subject of the obsession.
I left my native place to come to Mumbai, got routinely cheated, was given bad words, had phones and doors slammed on me. All my work and time was going down the drain. I didn't get credit for some work I did.
As with all my work, whether it's a leaf on a rock or ice on a rock, I'm trying to get beneath the surface appearance of things. Working the surface of a stone is an attempt to understand the internal energy of the stone.
I do read all my work aloud as I'm working - this has made it a little hard to adjust to my husband's retirement. I can shout the shouty parts if I'm alone in the house, but of course, I feel a fool if someone is there to hear me.
All my work, really, is based on my brothers and sisters. I had so many adventures with them and a big part of the work is to recreate those. It's easy for me to be around a lot of people, because I can retreat. I can watch everything.
I have a really big family, and pretty much all my work is about my brothers and sisters. I'm the youngest of eight - my mom had seven kids in seven years, and then she had me 11 years later - so I was basically raised by all these teenagers.
I am quite surprised, that with all my work, and some of it is very, very good, that nobody talks about The Miracle Worker. We're talking about Mrs. Robinson. I understand the world... I'm just a little dismayed that people aren't beyond it yet.
It always amuses me that the biggest praise for my work comes for the imagination, while the truth is that there's not a single line in all my work that does not have a basis in reality. The problem is that Caribbean reality resembles the wildest imagination.
I admit there's an element of brutality in all my work - it's part of the truth about human existence I always want to explore - but the last thing I'm trying to do is put on some kind of freak show, inviting people to get off on other people's pain and humiliation.
I do my schooling through an independent study program where I am able to do all my work at home, and then every two weeks, I meet with my teacher and turn in my work. When I am on set, I work with a studio teacher, and we do a mandatory three hours of school a day.
When people are getting on me for being at a Ranger game at 7 o'clock at night, they don't see what I've done between yoga, Pilates, workout, thrown, ran, done all my work by 5 o'clock, ate, and then I went to the game. Nobody is seeing that. Nobody is commenting on that.
Not all my work features black actors. I mean, it's funny: someone was reading back to me all the languages that have appeared in my films, whether they were shorts or features. They span Arabic, French, Mandarin, Cantonese - all kinds of languages. I think it's really cool.
I lived in Bandra East, on the 12th floor. There was a small earthquake; I could feel the building shaking. I was halfway down the stairs when I realised I'd forgotten my laptop, and all my scripts were on it. If I lost the laptop, I'd lose all my work. I ran back up to get it!
My work with AIDS patients started right at the beginning of the epidemic, totally unplanned and spontaneous, as all my work had proceeded in the previous two decades, if it were not already my whole life-style! In the early eighties, we knew very little about this peculiar disease.
I do all my work by storyboard, so as I draw the storyboard, the world gets more and more complex, and as a result, my North, South, East, West directions kind of shift and go off base, but it seems like my staff as well as the audience, doesn't quite realize that this has happened. Don't tell them about it.
All my work is partly biographical. I mean, 'Crash' was absolutely that, absolutely. But you just wouldn't recognize me in most of those characters. But I was in every single one of those characters in 'Crash,' because those were all fears that I had felt. Things that I had thought in my deepest, darkest heart.
In 2001, the hard disk on my laptop crashed, and everything on it was lost. I'd been using the computer for two, almost three years, and had all my work on it - email, which was stored locally; photos; fragments of poems; presentations; sketches; ideas; love letters; everything. I lamented the loss to my friends and got lectured on doing backups.