I've opened up more by traveling outside Jamaica. It helps me to grow as a person to be outside of my element; to be on my own in a strange place meeting people.
I think I'm a pretty open book. We're all a work in progress, and I'm not ashamed to say that I don't have it all together - I don't really think anyone does.
I want to work with performers who really are ready to lose their minds, you know? People who are established and have talent, but who are ready to break new ground and really be cracked open in a new way.
If you feel driven and compelled to make your work and to be fiercely original and have something unique to say, in a compelling way, then chances are the helpers will be there for you the doors will open some, the ice will crack.
The next generation of innovators, who need neutrality the most, are not at the bargaining table. They're hard at work in their labs or classrooms, dreaming of the next big thing, and hoping that the Internet is as open to them as it was to the found...
There's sort of an open offer to work with a guy in Los Angeles who does big band and orchestra arrangements who was at least an acquaintance to Les Baxter before he passed away.
I'm not saying that experiencing loss is why I can cope with darker worlds - I'm not saying that for a second - but I think it opens up a side of you in terms of work that wouldn't be as accessible had that stuff not happened.
We still have a lot of work to do in American culture. More open-mindedness is happening - in some cases rapidly, in some, slowly.
Hart Hanson is one of the coolest, smartest producers I've ever worked for. He's very open to ideas, he says no when he should, he says yes when it would work for the show.
I think that's always very valuable: to keep the mind open to receiving all sorts of information, which can then be used in my work, but also just as a human being.
Everyone has opportunities and different doors that are opened to them in different ways. In the end, if you're talented you'll get work, if you're not, you won't, so it doesn't really matter who you know.
I've never had a grand plan. I've only just tried to keep open to many different possibilities, have fun and work with people who are passionate about what they do.
But my manners also came from when I was in college and began participating in critiques. You have to speak with someone respectfully about their work and be honest and open, without hurting them.
I want to steer away from the stereotypes that Latina women are categorized in. I feel like there are so many more opportunities for us. I like going out for those roles that says 'open ethnicity.'
The very fact that women now form about one-fifth of the employes in manufacture and commerce in this country has opened a vast field of industrial legislation directly affecting women as wage-earners.
I learned that round four of a major is really not too much different than rounds one through three. I didn't keep to my game plan in the '08 U.S. Women's Open for the final round. That won't happen again!
The hesitancy is in the detail, not the principal. There has been no resistance to the principal of women playing in the Open if they are qualified for it. We are not dragging our feet. It's just that we never had cause to think about it before.
I think it helps in any comedy room for a woman to have very strong, respected convictions, because then it opens the door up a little bit for other women to have that.
I leaned my head back. "I look worse than I did the night you met me." "I thought you looked fine." I rolled my head to the side, so I could see him. Hoping the shadows made it so he couldn't see me. "What are you talking about? I looked like a Cirqu...
I’m a stranger behind the same set of eyes that the girl in the photo holds.
I'm not afraid of dying. I'm afraid I'll never get a chance to live!
