Jazz has to work. It has to play with the audience and with the marketplace. I think that is relevant to business.
When Hillary Clinton tried to act holier than thou, it really doesn't work. It really doesn't.
Print works! It works as a business proposition - our print readers [of the Mother Jones] not only provide revenue in the form of subs and ads, but they are a core part of our donor community; 10 percent give us a donation on top of their subscription; that's about the same rate as NPR gets from its listeners.
I repeat it until it works. It is important to record, otherwise you lose ideas. That's why I never stay away from the studio, I always [have] something to ask.
Open office plans, cell phones, constant notifications: these are all things that fight against sustained attention on a task. For some people and some tasks, that doesn’t matter. But for a lot of important work, it matters a lot.
Usually people in the acting business end up both in front of and behind the camera. Working for so long in the business, I know how it works. It's not too much of a challenge; the challenge is making it all come together, being in charge of a huge team of people that you trust.
What you have to remember, when you get to the level of seeing 10,000 people a night, is that they've all paid to have a performance. I need to make sure that they get their money's worth. I don't want to be going on stage and saying, "I'm just going to try some stuff and if it doesn't work, it doesn't matter," because it does matter.
In Nigeria, there is energy, whether it is Lagos, which is sheer anarchy, but it is not lethargic. It is strong, even aggressive and if that energy could be directed to work it will produce really enormous results.
We've decided [with Jordan Peele] that we need to be on the Internet for a little bit of time every day to figure out what's going on. It feels like we're working. It feels like you're all typing and you're searching.
The first time I read Marx, all I knew was he had given rise to this [Soviet] system that was supposed to be more or less the devil's work. It's disconcerting to read what he had to say and see that a lot of it was very human and very decent and didn't seem to be the work of the devil at all.
I didn't really understand fashion until I started going to Paris and seeing the ateliers and how hard these people work. It's art.
Good design is being able to put a $100,000 thing next to a $20 thing. If it looks right and it works then it works. It doesn't have to be expensive; it's all about the high meets low for me.
The system happens to be Washington and the way politics works, because whatever it is, it isn't working. It defies common sense. And part and parcel of this, right in the middle of it is the media and their lying and their distorting and their favoritism and their efforts to impugn and destroy people like us who want to stop this mess that's been progressing in a deteriorating way for way too many years.
America is fed up with political correctness, and it is fed up with government that doesn't work. It's fed up with weakness being interpreted as wisdom.
I think she [Michelle Obama] is reluctant to date someone she's above at work. It's 1989, she's at a law firm, surrounded by mostly white men, and she has to prove herself every day.
If you work on network TV, they want to pick your casts, dictate your story and how your show works. It just becomes creativity by committee, which is never good.
Marriage is a really scary thing. I'm excited about it. I know it's not a mistake, it's the absolute right thing to do. I'm really happy about it. I really, really love my fiancee. We're good friends and I think it's going to work. But that's just the point - it's going to take work. It does make me feel vulnerable to be like, wow, I'm committed to this person for the rest of my life.
If there's a theme in my work, it's that I like to focus on smart people who are facing oppression and who are fighting back against it.
My issues with it are that simply in terms of my own work. It represents 30 years of output. And some of the things, some of the pieces I've used there, when I first wrote them, they seemed probably very menacing, and I hear them now, and they're just kind of pleasant, if that's the word.
I can't stand stage mothers. It doesn't work. You definitely feel that with the new generation of pop stars right now they've all managed to work it out for themselves. You have to have confidence in that. When you're young, you know your market better than I will. I love having young people on the show because I can learn from them.
I have very good advice to give to kids this age, which is, you shouldn't listen to your mum or dad and you just have to work it out for yourself. And the reason I've taken the age range down this year, and I never would have done it 10 years ago, is what I've seen with the success of Willow Smith. You don't have to be so cutesy anymore.
When you have a single composer writing his work, it shouldn't be doled out in singles based on the length of a piece.
'Baskets' isn't a CBS show. Nothing against that, but this is an off-kilter show on cable that the channel lets you do interesting things. Look, if it works, it works. And if it doesn't, it's just a miniseries.
I've had many students over the years, sometimes even very sophisticated students, who will be writing and will hit a wall. Often I find it's because they're working out of sequence. Maybe some people can do that, but I don't think that's how fiction works. It's a discovery.
It does no one any good to say their novel sucks if you don't have an idea how to make it better, how to approach it from different angles and make it work. It's obviously a subjective process, right? But the thing about subjectivity, at least in the classroom, is that you're banking on your professor's subjectivity to be both personal and professional - that he or she has some sense about the world outside the workshop.
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