When I'm working, I don't wake up and say, 'OK, time to go be intense.' I just look at whatever scenes we're working on that day and break them down - just real intense everyday work.
Koba: [pointing to his scars] Human... work Human... work [screams as he points to his damaged eye] Koba: HUMAN WORK!
Virginia McCain: We got a phone call? Busy morning. Sheriff John T. 'Buster' McCain: Yeah. Work, work, work.
America's work ethic is non-stop; it's not even enshrined in law that workers have to get their two weeks holiday money. But Americans work harder than everyone else I can think of.
As a busker, one thing that does not work is self-consciousness. A busker needs to be working. A busker needs to shed all ego and get down to work. Play your songs, play them well, earn your money, and don't get in people's way.
And on top of that, when we work together we have a wonderful working relationship we push each other we challenge each other we laugh 80% of the time that we are together we're very fortunate.
Yes, I've been in love, but I guess I'm too involved with myself and my work. I think I'm in love with my work, and I'm in love with the people I work with.
It's just, people recognize you for your work, you know? They love you for your work, and they judge you for your work. It's awesome to have people quoting you. I love it.
I took the ET job because I wanted to stop traveling and they said I would only work half a day. Then I could work on music the rest of the day. They put in my contract that I wouldn't work after 1 P.M.
I believe that things are always going to work out, even if in the beginning it doesn't look like they are working out. I know in the long run they are going to work out, and it's going to be fine.
I think they should take everyone who works for The National Enquirer and the Star, and everyone who works for Us Weekly, and put them all to work looking for terrorists. I think they would find the terrorists. All of them. It would be genius!
I think that with Bob Dylan around, we're living in an era where we have Whitman presenting new work, we have Dickens presenting new work, we have Yeats and Shakespeare presenting new work. It's that level.
But we will say something else. That for far too long in this country, people who can work, people who are able to work, and people who choose not to work: you cannot go on claiming welfare like you are now.
They are imported by companies, controlled as serfs, worked like slaves, and at last go back to China with all their earnings. They are in every place, they seem to have no sex. Boys work, girls work; it is all alike to them.
I actually worked for a small company in Ohio that sort of farmed out work from Disney and Dreamworks, so I really only ever worked in two studios.
If the work is pure then you have to think it could be understood. If it is not understood it doesn't mean that your work is not accessible. It doesn't worry me, but, of course, I would be pleased if people liked my work.
I go on at least 2-3 auditions a week in the pursuit of more work. So I'm constantly working on material and constantly honing and trying to perfect a craft that is never perfectible - it's always new, and it's always different. It's always a work in...
I went to work with a guy named Matt Fuller, who was a Mothers fan, and low and behold, Arthur was working for him also. We worked together for about six months and decided to strike out on our own.
I suppose all of us - we have the old Protestant work ethic of feeling guilty when you're not working, and getting a buzz from feeling like you're really busy. That's the reason to sort of carry on.
I think people do work too much. I've never been able to understand the whole 'make hay while the sun shines' thing. Either I want to work or I don't want to work.
I definitely want to work with Thom Yorke. I want to work with Damien Marley; there's a few international artists I wouldn't mind working with - like Massacre Children would be ill, and I still have an affinity for the U.K. hip hop scene.
