Believe it or not, I don't own a TV. Crazy huh? I'm not a big movie-goer either. I just feel like I'm watching work. I am always outside and couldn't care less about what's on TV these days.
That is a big danger, losing your inspiration. When I work in film and television I try to do each take a little differently. I never want to do the same thing twice, because then you're not being spontaneous, you're just recreating something.
I'm a big fan of Edouard Vuillard, so I'd like anything by him - particularly a painting called 'Madame Hessel on the Sofa.' His work is realistic without being literal: I can really imagine what Madame Hessel is thinking.
The world is being re-shaped by the convergence of social, mobile, cloud, big data, community and other powerful forces. The combination of these technologies unlocks an incredible opportunity to connect everything together in a new way and is dramat...
A big part of who I am is just the way I was raised. Nobody is better than anyone else, and if you really work hard, you might get lucky and get what you want.
I used to write on a big old couch, but I gave that away. I was wise enough to give it to my son, so if it turns out that the couch was essential to my work, at least the decision to be rid of it is not irreversible.
Even in an organization that's doing something big and bold, there's the mundane, day-to-day execution work of keeping it going. But people need to stay connected to the boldness, to the vision, and stay plugged in to the main vein of the dream.
People are not perfect... very often the relationships that are strongest are those where people have worked through big crises, but they've had to work through them. So the challenge to us is to work through that.
Tell me who you want to see on the Left, and I'll hire them. If you give me a big name that's out there, that's floating around and wants work, I'd be happy to hire them.
I think zombies have always been an easy metaphor for hard times. Because they're this big, faceless, brainless group of evil things that will work tirelessly to destroy you and think of nothing else.
You don't have a face to work with, so your voice has to do all the work until you see the animation. So, a lot of it I had to pull back because it was too big.
The problem with data is that it says a lot, but it also says nothing. 'Big data' is terrific, but it's usually thin. To understand why something is happening, we have to engage in both forensics and guess work.
There was a period after my first solo album came out that about 50 per cent of my work was with symphonies and big bands. We did the Captain and Tennille as well, but it ended up being about 50-50.
I've always had a booty even when I was a baby, and when I was in high school and was skinny, I still had the booty. In Hollywood's eyes, the perfect women has to be a stick figure, tall, blonde hair, with big boobs.
I know that it's a big struggle with a lot of women to dress up - especially now women have been working - because it can be uncomfortable. So it was important to me with my role to make clothes that are slightly more dressed up but easy to wear.
Some women are convinced that they are the same size they were 20 years ago. They also wear clothes that are too big in an effort to hide their body. Both cases are unflattering and work against your body. Some women are in denial about changing.
In all the debate about Afghanistan, we don't hear much about our obligation to the wretched lives of Afghan women. They are being treated as collateral damage as the big boys discuss geopolitical goals.
There's a big thing in Canada that parents need to talk to their children about drugs and sex. I don't think talking to your kids about war is any less important than that.
The primary theory embraced by the Bush administration to justify its War on Terror policies was that the 'battlefield' is no longer confined to identifiable geographical areas, but instead, the entire globe is now one big, unlimited 'battlefield.'
When I was at Stratford, the very first thing that I was commissioned to work on was trying to make a musical out of the documentary material about the General Strike, which was the next big historical event in England, after the First World War.
Each of the dancers took a partner, the living with the dead, each to each. Bod reached out his hand and found himself touching fingers with, and gazing into the grey eyes of, the lady in the cobweb dress. She smiled at him. “Hello, Bod,” she sai...
