Every time I get through the work on a book of nonfiction, I say I'll never do it again; it takes so much out of you.

When I moved to Orlando, it was my first time moving from Cleveland. You never know what to expect. But to be able to go and work with Shawn Michaels and learn from him - it's just mind-blowing.

I have one of these bodies. When I was younger, I could never put weight on, and now that I'm a little older, there's a natural sort of chubbiness coming. But honestly, if I work out for a week, it drops off in no time.

I try to present something that is full of time. Not timeless, but full of time. I never like a work where we try to update it, but it's still not interesting to see a work that is dated. If one is successful, then a work can be full of time. And time is very complex.

From fifth grade on, I worked at our public library. The pay, a pittance, was almost superfluous. All through high school, I looked forward to summer as the time when I could work at the library four or five days a week. I was never a camp counselor, a lifeguard, a scooper of ice cream.

Living and working for four decades in a Bologna apartment and studio he shared with his unwed sisters, Morandi painted little but bottles, boxes, jars, and vases. Yet like that of Chardin and the underappreciated William Nicholson, Morandi's work seems to slow down time and show you things you've never seen before.

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