One of the best teaching experiences Ed Schein and I had when we were teaching at MIT in the 1960s was inventing a course on leadership through film.
The beauty of dystopia is that it lets us vicariously experience future worlds - but we still have the power to change our own.
I gave my beauty and my youth to men. I am going to give my wisdom and experience to animals.
With a lot of films, people are sitting on the outside looking in, but I want the audience to get a bit more intimately involved with what's going on, so that they maybe can experience it a little bit more intensely.
People respected my experience, they hire me, they pay me what I am worth to coach their team.
The reason humans experience so much more stress than other species isn't just because we think more, but also because we think differently.
The less you think counterfactually, the less you experience stress. Stress, in this light, isn't a bad thing. It's simply a warning system telling you that your mind has lost touch with what's real.
To the artist is sometimes granted a sudden, transient insight which serves in this matter for experience. A flash, and where previously the brain held a dead fact, the soul grasps a living truth! At moments we are all artists.
And hence he must be invisible; for a spirit cannot be seen by the eye of man: nor is there any thing in this principle contradictory to reason or experience.
My feeling about work is it's much more about the experience of doing it than the end product. Sometimes things that are really great and make lots of money are miserable to make, and vice versa.
In my experience, men are not necessarily less sensitive or compassionate than women are, and women are not necessarily any less aggressive or competitive than men are - as a matter of fact, often they are more so!
I am already inherently full and complete as I am. Man doesn't need woman and woman doesn't need man in order to experience his or her inherent fullness.
I think if you don't feel passionate about the first movie you're doing, in the end the project will lack something because you don't have enough experience to make the movie something special.
Like a bottle of wine or a promising college quarterback turning pro, C.E.O.'s are similar to what economists call experience goods: you commit to a price long before you know if they're worth it.
It's a question of dropping the armor and getting up and doing the work you want to do. And film at first is frightening because you are like, 'What's that camera doing?' But then it becomes family and therefore a really wonderful experience.
When you experience the emotion of sadness, there will be changes in facial expression, and your body will be closed in, withdrawn. There are also changes in your heart, your guts: they slow down. And there are hormonal changes.
You are traveling and see these people shooting the entire experience of going through a city, and maybe in the back of their minds they sustain the illusion that they will edit it all, but I don't think that's it.
My experience of test screenings is that you don't know what kind of mood people are going to be in, and sometimes the studios accept what Joe Blo says - and this guy could just be a frustrated filmmaker, or not paying attention.
I'm friends with a lot of actresses, but my 'SNL' friends are my closest. The experience of working there is something of a battleground, a great one, but complicated. I think there's a deep connection for having survived that workplace.
An adolescent is somebody who is in between things. A teenager is somebody who's kind of permanently there. And so living with them through the various teenage hopes and sorrows and joys was curiously enough a maturing experience for me.
I probably hold the distinction of being one movie star who, by all laws of logic, should never have made it. At each stage of my career, I lacked the experience.
