I learned that working out gives me a space to get clear. It's not just about the body. It gives me space to process things and get clear in my mind about decisions and things I want to do.
You have to remember that I was a bright but simple fellow from Canada who seldom, if ever, met another writer, and then only a so-called literary type that occasionally sold a story and meanwhile worked in an office for a living.
When I went into GM there was a lack of morale. The company had gone bankrupt and the people who worked there were embarrassed. Underneath all of, though, there was a will to show what they were capable of, but nobody knew exactly what to do.
When I'm not working, I want to be the version of the person that I was born to be. I was born with curly hair. It fits my personality, and it's totally who I am. I am rough around the edges, and I am not a polished girl.
I was 18 when I first started working at a restaurant. I was a dishwasher. I only got the job because I wanted to go to Ibiza for vacation, and washing dishes was the only job I could find.
JEMAINE Lisa? BRET Yes, she's in Delta Force. She's been deployed to Fallujah. JEMAINE But she works in the croissant shop. BRET Yeah, she's got two jobs. She's a pastry chef and a sniper.
People think I'm just an old Luddite, but that's untrue. I buy every new gizmo as it comes out, play with it until I understand how it works, and then give it away.
I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.
The first four and a half years was me in the studio every day, writing songs for other people. I had jobs, too - eleven jobs. I worked at Kinko's, Fatburger, Subway - I was a sandwich artist - and I was a claims processor at Allstate Insurance.
I was a dancer when I got discovered, and I started working immediately. I started being in commercials and doing guest star roles. My first big thing, which happened maybe six months after being discovered, was 'Bring It On: All or Nothing.'
During my participation in the Manhattan Project and subsequent research at Los Alamos, encompassing a period of fifteen years, I worked in the company of perhaps the greatest collection of scientific talent the world has ever known.
There's a book called 'Where The Wild Things Are,' by American writer Maurice Sendak... it really is the most sublime book. It's a picture book, but it works at so many levels, and it's fantastic.
I really learned a lot when I worked on my grandpa's film 'Twixt' and got to be with him start to finish and sit next to him every day. That was my film school.
Capitalism tries for a delicate balance: It attempts to work things out so that everyone gets just enough stuff to keep them from getting violent and trying to take other people’s stuff.
You've learned the lessons well. You first learned to live on less than you earn. Next you learned to seek advice from those who are competent. Lastly, you've learned to make gold work for you.
I think people don’t think I work, because I wear stilettos and look damn fine. But that’s discrimination against stilettos and against looking damn fine! And I object to this form of discrimination!
We Jews created the concept of good luck. Luck in Hebrew is mazel, which is not actually a word. It is an acronym for three words: 1. makom = place 2. zman = time 3. lamud = work
I started working when I was very young. I got an agent when I was 12, and fortunately was employed consistently from that point on. So I didn't really go to a conventional high school. I was tutored on sets and things.
My years with Aretha Franklin have been very special, as were the years making records with Dionne Warwick. Other highlights include working with Janis Joplin, who was the first artist I ever signed, as well as Patti Smith and Alicia Keys.
The performances of my works in the last 10 years are probably equal to all the previous years put together. There are so many venues now and there is a completely new public for opera that's grown up outside of the traditional core opera public.
I've worked on all sorts of things, like the sci-fi stuff for Vin Diesel, where the script is numbered and is in unphotocopy-able colours and your name is stamped into every page. And it doesn't really help because it creates a false sense of special...
