I come from a long line of matriarchal women, and my greatest teachers were my mothers.
I grew up in this Southern Baptist atmosphere, and my mother and father were both, I guess you would say, academics. They were both teachers.
There are certain teachers who shouldn't be teachers.
Donald O'Connor was in the film [ 'Singin' in the Rain' ] as well, and he was only 27 years old. So we were closer in age, and had more fun together on the set. Gene was more my teacher and mentor.
I also got encouragement from my teachers at primary school but one person in particular who had a significant impact on my lean towards art is Mr. Luigi St. Omer. Mr. St. Omer was the one who always reminded me that I should not settle for less than greatness in my art. He saw that I had the potential and he helped me develop that talent.
I didn't see [Luigi St. Omer] as a teacher. I saw him as a comrade I respected and I could go to see anytime something was bothering me. He was indeed my "big brother". He praised me when I did something exceptional and scolded me when I did things which were out of the way.
As a visual arts teacher, I have to keep my mind open. I have explores styles from pointillism to cubism.
Obviously, ["Fences"] is a character-driven piece in every sense of the word, and Denzel [Washington] knows the actor. He gave us two weeks of rehearsal. He is a truth teller, and he is a truth seer. So he knows when something is not going in the right direction, and he will call you on it. But, he knows the word to use to unlock whatever is blocking you. So I think he's fabulous and he's a teacher.
Lloyd Richards is another director who was like that, who was a teacher.
I was taught from a young age that as a teacher, especially a male, you are to never be alone with a female, or even a male student.
Teachers literally break down at the thought that if their students have a bad a test day, their job is on the line.
People with education get out of the classroom as soon as they can and jump into administration or higher ed, there just needs to be some motivating factor for teachers to stay in the classrooms and excel. It's that simple.
We have a text before us, an ancient text, a living text, and we try to enter it, not only to decipher it, but to penetrate it, to become part of it, similar to the way every student becomes part of a teacher's texture. That's how I see our [with Frank Moore Cross] two differing approaches.
I think a lot of teachers want to talk about how to continually improve performance.
Have you ever seen the stereotype of the angry yoga teacher? There are some people that are at an 11 and yoga takes them down to a nine. That's me.
I'd also talk about the period and of course all the different gender things that people might feel that they are. I'd be a terrible teacher because of what I don't know about that.
Miranda [Hentoff] is a complete musician. She's a composer, a singer. She writes scripts along - with her projects. And she's a superb teacher. Her teaching pupils have ranged from Itzhak Perlman to Sting.
I worry about younger generations who were born to view their country trampling on humanity of everyone that comes in its way, as the 'normal state of affairs" - because they knew no other. We know how easy it is to shed, under such circumstances, the thin and frail veneer of civilization, not to mention the moral standards of which the Jews were presumed to be the world's teachers.
There is a group of us that met through Howard Klein's class in Los Angeles. Howard Klein is a prominent acting teacher. We got together and did this short Night Music that was such an amazing experience, Guy and I were thinking, 'Okay, what do we do next?' So he wrote this next movie of his, Loulou.
When speaking to parents, I encourage them to take their child(ren) to a children's museum and watch carefully what the child does, how she/she does it, what he/she returns to, where there is definite growth. Teachers could do the same or could set up 'play areas' which provide 'nutrition' for different intelligences... and watch carefully what happens and what does not happen with each child.
What you're experiencing now [on "MasterChef," on "Junior"] is what life's going to be like for the next four, five decades. You're going to go through those bumps. Bringing you back in contention and giving you that kind of confidence, they're huge. But they let it go, there's no fear, they're naughty, they're rude, and they know there's no parents and there's no school teacher so they can have fun, and it shows.
As a teacher in order not to have to answer too many questions, you stretch your answers.
I've done a little yoga, not as a professional, and every time I have a good teacher I see the immense possibilities and subtleties in this discipline. It's a little bit like music.
First I was a mimic. Practically from the moment I began talking, I did impersonations of the people in my neighborhood - the storekeepers, the policemen, my teachers.
Mrs. James, my fifth-grade teacher, introduced us to some of the great literature of African American culture. I won my first blue ribbon reciting the vernacular poems of Paul Lawrence Dunbar, in particular "Little Brown Baby."
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