Hence my obstinate emphasis on stylistic continuity from work to work rather than specific sibling relationships between the individual work and other members of its stylistic 'family' in the world outside.
Working with Disney is really and truly like working with a family. Everyone is so supportive and so wonderful. I've worked with Disney since I was twelve, and they've given me so many opportunities that I'll forever be grateful for.
Usually when you're working is when people want you to work. They don't want you as much when you're not working. That's the frustrating nature of our business.
Be prepared, work hard, and hope for a little luck. Recognize that the harder you work and the better prepared you are, the more luck you might have.
I don't often get recognized for my work, but I look familiar. I'm just a working-man actor. I go and audition, and you just hope the work keeps coming.
I don't starve myself. Anyone who knows me will tell you I have an appetite. I'd much rather work out and not diet than not work out and have to diet.
I'm kind of a Midwestern snob. I think we're just nice people and have a great work ethic.
I understood early on that I was not the best-looking girl in the room. But I knew my advantage was a hard work ethic and I was ambitious: I knew I could be a great model.
I also feel that the only thing more gratifying than working with someone who you've worked well with is working with someone new and coming up with something great.
I've been really lucky to work with some really great film people in the past, but television works on a much quicker schedule, and it's the TV directors I've worked with that I looked to and became a big fan of.
All the truly great stand-ups say, 'I go onstage, and I work on jokes. The inspiration will happen while I'm doing my work.' To me, in the end, the surest thing is work.
In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.
I once worked with Emma Thompson's mother, Phyllida Law. I worked with her on a BBC drama, and she was hilarious. I loved her so much, and she was great to work with.
To work without attachment is to work without the expectation of reward or fear of any punishment in this world or the next. Work so done is a means to the end, and God is the end.
We are being tough in saying it is a duty on the unemployed in future not only to be available for work - and not to shirk work - but also to get the skills for work. That is a new duty we are introducing.
When you focus on life, on enjoying and connecting with other people, that's when work comes. When you focus on work, you can never work. I'm always going through waves of that.
I wanted to make a movie, because the whole life of the movies appealed to me. You work hard for three or four months, then you don't work at all for a couple of months.
I'm going from doing all of the work to having to delegate the work - which is almost harder for me than doing the work myself. I'm a lousy delegator, but I'm learning.
Not everyone who works hard gets to make it in life. But those who work hard with a smart plan always do.
The power of words is in the works of words. People are much more bonded by the works of words than words. The work of words is the trigger of words.
A professional is one who does his best work when he feels the least like working.
