These days i tend to use one project I do as a kind of offshoot to the next.
I try to look at the whole thing and say 'yes' to the projects that I cannot stop thinking about. If I read a script and the subject stays with me - then that's when I want to go to work.
I'd love to act more. I've had to turn down multiple movies because I was on tour, but it's encouraging to know that someday there might be the right role, the right timing. And I've been writing a lot of music, so hopefully very soon I'll have recorded a project of my own. I also want to get a boat and open a restaurant.
An hour is not merely an hour, it is a vase full of scents and sounds and projects and climates.
The one thing that I have learned from all these projects is that the key to transformative change is to make the system see itself. That’s why deep data matters. It matters to the future of our institutions, our societies, and our planet.
Great projects, like great careers and relationships that last, are gardens. They are tended, they shift, they grow. They endure over time, gaining a personality and reflecting their environment. When something dies or fades away, we prune, replant and grow again.
You’ve never reacted to someone else. You project meaning onto nothing. And you react to the meaning you’ve projected
Stress is a choice. Do you buy that? Some people have a hard time with the idea. Yes, bad things happen: The economy sours, our business struggles, the stock market tumbles, jobs are lost, people around us don't follow through, deadlines are missed, projects fail, good people leave. Life is full of these. But still, stress is a choice because whatever the 'trigger event,' we always choose our own response. We choose to react angrily. We choose to stuff our emotions and keep quiet. We choose to worry. Stress is a choice.
I don’t work as a conceptualist. Let’s say the conceptual art model is that you have a project idea, or a set of concerns, and then you illustrate those concerns in whatever manner you see appropriate. For me, it has always been that the world suggests far more subtle and interesting variations than I could ever come up with.
I'm a working woman of 80 trying to work out what the image I can project is. How I can do it with, you know, dignity.
I always had the intuition, even as a little child, that I was called for a big project.
I'm always trying to find something unique or a project that I can do something unique in. When the director has a vision for a piece that I've never heard before, and they can back that up with visuals and they talk a good game, I get really interested in the world that they're trying to create.
I wait and take on projects that I think can work.
Different directors have different things, so when I left Mike Leigh, as it were, and I went into other projects after 'All or Nothing,' it took some getting used to - what do you mean there's a script?!?' That kind of thing.
Cloud computing is actually a spectrum of things complementing one another and building on a foundation of sharing. Inherent dualities in the cloud computing phenomenon are spawning divergent strategies for cloud computing success. The public cloud, hybrid clouds, and private clouds now dot the landscape of IT based solutions. Because of that, the basic issues have moved from 'what is cloud' to 'how will cloud projects evolve'.
When you save book reports, art projects and put them in a scrapbook, it shows a kid you care and you are taking an interest in their lives.
As a performer, you can't just sit around waiting for the phone to ring. You have to write and develop projects for yourself, because casting people aren't always going to see you the way you want to be seen. Write a one-person show, shoot a short film, do plays, whatever - activity breeds activity. No one's interested in a stay-at-home actress.
I'm not saying they won't be bigger projects someday.
The Rogue Film School is not for the faint-hearted. It is for those who have travelled on foot, who have worked as bouncers in sex clubs or as wardens in a lunatic asylum, for those who are willing to learn about lock picking or forging shooting permits in countries not favoring their projects. In short: for those who have a sense of poetry. For those who are pilgrims. For those who can tell a story to four year old children and hold their attention. For those who have a fire burning within. For those who have a dream.
I'm always playing the nice guy in most of the projects that I do.
One of the annoying things when you're in a movie is that gets talked about is everyone projects meaning onto everyone's intentions.
We are still in the infancy of naming what is really happening on software development projects.
A well-functioning team of adequate people will complete a project almost regardless of the process or technology they are asked to use (although the process and technology may help or hinder them along the way).
I believe you shouldn't force the audience's interpretation of a character or a story. The more you explain things, the less intriguing and imaginable they are for viewers. . . . Film to me, in its essence, in its ultimate nature, is silent. Music and dialogue are there to fill what is lacking in the image. But you should be able to tell the story with moving pictures alone. For my next project, though, I'd like to make the kind of film where the characters blabber all the time.
My mother always taught me never to look back in regret but to move on to the next thing. The amount of time people waste dwelling on failures rather than putting that energy into another project, always amazes me. I have fun running all the Virgin businesses-so a setback is never a bad experience, just a learning curve.
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