Well, my closest friends are still the ones that I went to school with, but it's nice to go to work, at the studios, and have people there that you're willing to talk to and have a good conversation with.
I work very fast and steadily, and I don't hardly ever notice that I'm working. It feels like just breathing or walking when I do films.
When I started acting, my whole focus and intention was to work as a stage actor in a company where you're asked to different roles - do a comedy, do a tragedy, etc. I haven't had any reservations about jumping from one type of genre to another.
I don't hate work, composing is not work for me, it's my pleasure; it's my life. So why should I stop? If something is pleasurable and exciting and rewarding, why should one stop?
I think the name of the show, 'This American Life' - we named it that just because it seemed like it made the thing feel big. But we don't think about whether it's an American story or not. We happen to be Americans. I think for the stories to work, they have to be universal.
In such an environment, I was able to study things that could be of immediate usefulness to the world. That learning experience undoubtedly served me well when I eventually entered the work force.
I like the work. If I upped the price, I wouldn't get the work.
Like everything genuine, its inner life guarantees its truth. All works of art created by truthful minds without regard for the work's conventional exterior remain genuine for all times.
The lack of available, good work inspires a lot of people to be self-creating.
I would love to work with Joss Whedon again.
Doing something you enjoy at times of your own choosing and making a living from it: now tell me, is that work?
It's a werewolf movie with Christina Ricci, and it was a chance to work with some good people. But playing yourself is always fairly risky because you gotta watch how you goof on yourself.
I suppose if I was to have to pick a few, Ursula LeGuin would have to top the list. It was while reading her work that I decided I wanted to be an author.
I was offered a few shows, but the money didn't work out, but I'm not very keen on judging such shows. I'm happy in my space as a composer.
In this work I have received the opposition of a number of men who only advocate the unobtainable because the immediately possible is beyond their moral courage, administrative ability, and their political prescience.
I don't work well outside the lines; my report card once read, 'doesn't play well with others.'
After-school tutoring programs, care for the elderly, shelters for the homeless, disaster relief work, and a variety of other services would all benefit from government funding.
When I was at Brown, I wanted to write the great American novel, but I was too scared to take a creative course. I signed up for one, got in, and just didn't have the courage to go. I was a tremendously shy person, almost pathologically shy. The thought of peers critiquing my work - oh, God.
Work and love; these are the basics. Without them there is neurosis.
I think a composer is always interested in his last work.
It was the labor movement that helped secure so much of what we take for granted today. The 40-hour work week, the minimum wage, family leave, health insurance, Social Security, Medicare, retirement plans. The cornerstones of the middle-class security all bear the union label.
I was focused on building things from an early age. When I was about 3, our toilet broke, and my mother was ready to call the plumber. I told her I would fix it and asked her to get my Richard Scarry book 'How Things Work in Busytown.' Between the picture of a toilet and the text she read to me explaining how the parts worked, I fixed it.
The main difference between the Prague Spring and the Velvet Revolution was that the former was mostly the work of Communist party members and others who wanted to bring about 'socialism with a human face.'
As artists, we do the work that we do. Receiving an award or not receiving an award in no way diminishes one's talent or value.
The main benefit of the book for the more experienced practitioners is as an evangelical tool. The book will give you some ways of expressing the value and importance of your work that you may not have had before.
I actually work at my craft, and I actually want to be the best in my category, and I want to be a true actress. And a lot of people just want fame, and there's a huge difference.
Work will win when wishy washy wishing won t.
I love to eat and I love sweets... like chocolate. But I do work out.
Theater is consistent. You ride your bike to work. You get most of the day off so you can see your kids. My problem is that after three months, I go mad. One of the reasons I never thought I could do a TV show is that I hate doing the same thing over and over again.
Good old-fashioned, puritanical work guilt is, for me, a better colleague than any Muse. If I reach my weekly word target by Friday afternoon, then the weekend is guilt-free.
I don't have much of a problem with interruptions. I keep a detailed record of paint and materials as a work on each painting. I can restart exactly where I left off.
Work is a necessity for man. Man invented the alarm clock.
I'm at a place where I want to have fun. I want to be challenged. I want to love the people I work with and continue to appreciate being in the position to work and play and explore.
I had many, many mentors that I worked with. Music teachers, choir directors, directors in summer stock or in regional theater. You know, people I was able to work with repeatedly and learn from who were really sort of appropriate people for me to work with at a given time in my development as an actor.
I was plunged into what was known as the debutante social whirl. This was one of the ways fathers justified their own hard work and sacrifices.
I'm happiest at home hanging out with the kids... Having a family has been my saving grace because I don't work back to back on anything or I'd drive myself to an early grave with guilt and worry for my family, whom I'd never see.
