Quotes of All Topics . Occasions . Authors
It's a lovely thing to have people in any circumstance appreciate your work.
Acting is very subjective and one can't be deterred by what people think of your work.
People's behaviour towards you changes when your films don't work. It's a painful period.
With 'American Idol,' you are on your toes a lot. People don't realize the amount of work.
I think more dating stuff is scheduling. It's needing people who understand your work schedule.
Beanbags and softball matches and a cool Twitter handle doesn't make young people want to work at your office.
Chemistry's a word that people who make hires and decisions say, 'Hey, you guys go out and work on your chemistry!'
People say you have to work on your resentments. Yeah, no, I'm gonna hang onto them and they're gonna fuel my attack.
If acting with other people is in your plans, then you need to learn how to work with other people to build a comedic premise.
It's helpful to get feedback on your work, and I think you learn a lot from reading other people's work and giving them feedback.
If people have split views about your work, I think it's flattering. I'd rather have them feel something about it than dismiss it.
When you work on an album for three and a half years, you're kind of ready for it to get out there. To have your songs reach people.
Having your stuff online - some people think of it as gimmicky, but in a way, it's one of the most pure forms of having your work judged.
It is nice to have a lot of people watch your work but I really have thought of it as not the goal of my career but a bonus in my career.
You try to work with the director and your fellow actors to get somewhere, but other people are the judge of whether you hit that note right.
You are going to make choices and decisions that sometimes aren't going to always work in your favor and they are going to upset some other people.
I would say this: no matter what style you play, at some point, the team that beats you, people are going to say, 'I guess your style doesn't work.'
I think ethnic and regional labels are insulting to writers and really put restrictions on them. People don't think your work is quite as universal.
Presentation skills are key. People who work for you represent your brand. You want them to present themselves - and represent you - in a certain way.
In these litigious times, if you're a beginner, it's becoming harder and harder to get your work to the people who might actually be able to hire you.
If your work doesn't speak to people, it's beyond comprehension and risible, but if people engage with it, you become tarred with the brush of populism.
The TV work is so dynamic. You are in front of the cameras, but you are also educating people and genuinely really excited about showing off your products.
As an artist, you want as many people as possible to see your work with no interference. And usually, I've gone onto fringe channels: BBC Two, HBO, Channel 4.
Fans are very emotional people, and when they have seen you with some people and they like your chemistry, they expect you to work with the same person again.
The downside of being a celebrity is that people kind of know about you, and you really don't need them to know about you - you need them to know about your work.
Sometimes it irks when people come up in the street and say, 'Oh I'm a huge James Bond fan' - when you obviously want them to be a fan of your work in particular.
I'm not your typical quarterback. I don't like when people say, 'Quarterbacks aren't supposed to run,' or, 'Quarterbacks aren't supposed to work out a certain way.'
People are mistaken if they think the Foreign Office can get you out of jail. We can't, but we will work hard to try and ensure your safety, and that you get a fair trial.
In America, they are very respectful of your work. People are not judgmental. They like difference - to be different is a force. In France, you have to be like the girl next door.
When you become a wrestler at 35 and your career takes off at 40, nobody believes in you. But there are some people out there who watch how I did it, and I did it through intense work ethic.
People notice it and they help you participate and see your work included in this project and when we ship our browser, you and millions of other people get to see the fruits of your efforts.
In the sense that people who produce things and work get rewarded, statistically. You don't get rewarded precisely for your effort, but in Russia you got rewarded for being alive, but not very well rewarded.
I wanted no other job than to work in newspapers. I was fascinated by the process of collecting information, talking to people and having the story appear in a paper that would be delivered in your letterbox.
I think you just have to cross your fingers that there's enough artists out there that keep producing interesting work, and eventually it will form a kind of wave that will force people to pay attention to it.
It's difficult to tell whether people are looking at you because they recognise you from your work or just because you're 6 ft. 3 in. and have the eyebrows of Satan. It's difficult to distinguish between the two.
If you set the attractiveness bar really low, people have to compliment you on your looks when they meet you in person. I'm pretty much a genius. I'm actually applying to work at the Genius Bar based on this trick.
It's ludicrous to think people work for you: 'a film by...' doesn't exist. Directed by, maybe, but it's a film from a collective, a group of people whom you consult and seek your counsel and advice and vice versa, too.
A lot of people in my generation don't seem to get that you have to work your way up. I don't care if filing invoices is beneath you. If you don't do it, who do you think is going to? Your boss? Nope. That's why she hired you.
As vocal as some people have been about how emotionally attached they've been to celluloid, I've been equally emotional in my stance that nothing is more valuable than this. Than being able to see the result of your work quickly.
A film set is really delicate and people treat you very very well if you're an actor because they want you to be as comfortable as possible for you to do your work, but it really is just one in a team of many and usually 150 people.
People think writing is a very distinguished, cerebral thing, where all you do is write. It doesn't work that way. People have to see online promotions, see piles of your book in stores, and you have to make sure the guy recommends it!
When I used to work in television, a tip was rather than looking down the barrel of the camera and imagine people watching, which is terrifying, imagine your most discerning friend observing you, and imagine you're just talking to them.
It used to be that you could do these nuggets of a movie and it would attach itself in terms of credibility to your work and the style of work that you did, that people would be interested and curious about you and your work as an actor.
The machine of awards season is very stressful. But this is the Oscars! It's your peers, your heroes, people you admire, the people who inspired you to get into this work in the first place. It's a pretty overwhelming feeling when you think about it.
Researchers found that sharing your workout results - whether it's through actually being friends on a specific app or calling friends to tell them how you did, even posting your results on a social platform - usually pushes people to work even harder.
I've played different nationalities, and everything from vulnerable to strong to crooked to demented. It just increases your possibilities of work because, if people know you can do just about anything, then you're going to get more offers. That's what I want to do.
I go to the gym and work through a routine. But if you see someone with a personal trainer, you know they do 10 times more than you do. You give up your sense of identity. If you watch 'The Biggest Loser,' you see people give up their identity to become something else.
I found the most difficult thing when you became successful - when I had the record album, it won Album of the Year - that you were cut off from the source of your material. Your material was everyday people, and you were kind of cut off from that, and you had to work at it.
I produce so little that the works have to be editioned. Otherwise, I don't survive. Also, editioning is relevant for communication. If you make three new works, it means that nine objects are available. Three people talking about your work is fine, but nine makes a difference.
I don't plan in terms of career ambitions. The only career ambition I have is to work with people who are going to bring you up and elevate your performance. They'll let you know things that you didn't know already and bring you places that you might not have gotten to otherwise.