Quotes of All Topics . Occasions . Authors
I always wanted to do good work and play strong parts.
It's always good to receive recognition for your work.
I'm always eager to work with good people on good content.
It's always good to have more promotions, give more fighters work.
That's always the No. 1 goal, just be a good teammate and work hard.
I always like to work with really good filmmakers and really good actors.
My mum always says work goes in waves: you have a good spell and then it dips.
I'm always excited to work and excited to be on a show as good as 'Dexter,' for sure.
We always want to live in an environment where there's no artificial block to good work.
I always encourage employees to feel free to raise any issues that prevent them from getting good work done.
I always wanted to work with Ayushmann Khurrana and I wished that I would get a good script to team up with him.
When a director you admire says that he wants to work with you, it's always a compliment, very good for your ego.
We don't always get the kind of work we want, but we always have a choice of whether to do it with good grace or not.
You always have to figure out what the director is good at before you work with them; then you can fill in if need be.
I think it's important to always keep professional and surround yourself with good people, work hard, and be nice to everyone.
It is certainly good to have fans but I am always focusing on the next thing and continuing to do good work. Onward and upward.
Showing just the dark side doesn't always work. The important thing is to show what we can learn from dark things, what good we find there.
What my father especially taught me was to not always take the safe road, the easy road. If you are going to do good work, you have to risk failing badly.
It is always good to work with a very regular group of people because we know how high we can fly and what are the parameters, and it becomes very enjoyable.
You always believed that as good as you knew you were, there was always somebody who could take your place. I tried to work as hard as I could to make sure that didn't happen.
Everyone always asks me, 'Do you want to be famous... ' I never really thought about becoming famous. I just want to work, to be able to put out inspiring and good film and TV.
I've always been very honest about what's good and bad in my writing. That honesty might have made me sound arrogant sometimes, when I was talking about work I thought was good.
Like any other actor, I want to work with good directors, and I always look for good scripts. I've had to say no to some people; I suspect that's the reason I'm called arrogant.
A relationship is work, and it changes. And you go with the changes. It's more good times than bad times, but it's not always good. You have to overcome those issues and move on.
For some reason, I always wanted to work in an environment where things weren't so good. I'm no messiah, but I always wanted to try and make a difference where a team hadn't prospered.
There are so many people who are dependent on me. You know, setting expectations, and then feeling afraid. But I am a firm believer in the fact that good work has always been recognized.
One of my strengths as a writer is that I'm a good problem-solver. I write these unthinking, ungoverned first drafts. The project for me always is to turn that instinctive stuff into pages that work.
Not that I've always loved the movie when they finally come out, or if they ever come out-because many of them don't come out-but I've gotten to work with really good story editors and stuff like that.
I wasn't the kind of kid who would get A's without even trying. I had to work to get good grades, but I was very organised about it because I always wanted to do well at everything I did. I'm very competitive.
I think awards are good for the movie. They can bring a new audience to the movie. I've always claimed that things like that don't get you work. Work gets you work. That's my blue-collar, protestant work ethic.
My mam worked for 41 years. She was a single working mother. I think I always had that mentality of you can do everything. You can have your kid. You can be a good mother. You can work. She was very independent.
I always had to have a job in the summer when I was at school. It was about teaching me, and my brother and sisters, a good work ethic and making sure we knew there were no handouts. We had to find our own way in this world.
I've always been very ambitious, and I always knew that I wanted something else. Cuba was a good start, but I knew I wasn't going to develop a real career, and I wanted to get closer to filmmakers that I wanted to work with.
I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter.
There's always a question of duration, there's a question of who the orchestra is. No one is free to write what you want - you collaborate on a film score, and one of the good things is that someone else's work is motivating you.
I am always getting messages that I am paid by America, that I work for America, that I am connected with CIA... blah blah blah. I am not working for America, I am working for my country's good, but America is not an enemy for me.
I've just always loved really good projects. The things that draw me into a new project have very little to do with genre and have more to do with the characters I'll be playing, the people I'll get to work with and things like that.
This should be a written rule: Guards should always defer to centers. I don't care how good you are, those big guys make the game so much easier for every other person on that team, and without them, everyone else needs to work twice as hard.
I often say to people that producing is the best-paid form of cowardice. When you produce things, you almost always get credit if it's a good record, but you hardly ever get the blame if it's not! You don't really take responsibility for your work.
One of the more interesting things I've learnt since becoming a writer is that if you like the book, you'll generally like the person. It doesn't always work in reverse - there are huge numbers of lovely people out there writing not very good books.
I don't think being a star has ever been part of the plan. But I always want to do really good work, even when I made career moves with projects that made more sense in sort of a career way than in an artistic way... like I did with 'The Darkest Hour.'
I wanted to go to drama school, but when I got the part in 'Falling,' I got an agent, so it seemed a good idea to work. I always did a lot of singing and dancing, so I am glad it worked out that way. I would like to study stage acting at some point, though.
There are always good parts. They may not pay what you want, and they may not have as many days' work as you want, they may not have the billing that you want, they may not have a lot of things, but - the content of the role itself - I find there are many roles.
Personally, I always try to focus on the little things in my game. As a defender and attacking outside back, I continuously work on completing passes, not being too predictable going forward into the attack, good services into the box, good positioning and footwork.
I've actually seen a good amount of the shows at Lincoln Center Theater. I went to school right across the street at Juilliard, so some of the first stuff I got to see here in New York was at the Lincoln Center Theater. I've always been inspired by the work that they do.
I was pretty dead set against ever writing an academic novel. It's always been my view that there are already more than enough academic novels and that most of them aren't any good. Most of them are self-conscious and bitter, the work of people who want to settle grudges.
I shared a dressing room with Pete Postlethwaite for 18 months, and he became a good friend. His discipline had an impact on me. You could have a laugh with him, but he was always on the ball when it came to work and very professional. Hopefully some of that rubbed off on me.
There is an environment where someone is always looking for someone to make an error. They're always looking not for the good things, the wonderful things the president and first lady are doing, they're looking for an error or to criticize. And it's not conducive to good work.
College is something I've always said I wanted to do, but you're going there to get a piece of paper that says you can get a job, but if I'm already working steadily and doing good work, it makes you question your priorities. Right now, I'm in my own film college: filming a TV show.
I was always pretty decent at fast stick work or doing stuff that seems impressive that's not really; I was pretty tasteful and had good ideas musically. But I had a terrible sense of tempo, which is like being a blind painter. The conductor would just rip into me, and it lasted for years.