I go out very rarely in Paris. If it's a fashion party at a nightclub, I wouldn't dream to go. People come to you for your work, not because you go to all their parties.
It's just as important to work on the little muscle groups as well as the big muscle groups. People, when they train, go to gyms. I call them 'nightclub bodies' - ginormous up top, and legs are little sticks. You see a lot of people, and they forget you can't leave the little muscles behind.
I think that most people who hire me to do a remix just want it to work in a nightclub, whereas when I'm writing my own album, I don't have to worry so much about 2 A.M.
The whole Hollywood nightlife thing cracks me up. I can't work and do that stuff.
A lot of times we work across multiple platforms. We'll go to Japan working on the tsunami for 'Nightly News' and it'll end up on 'Dateline.'
Teamwork makes the dream work, but a vision becomes a nightmare when the leader has a big dream and a bad team.
A lot of dreams can turn to nightmares... if you don't really work them.
My father has taught me not to succumb to nihilism, and my mother has taught me the value of hard work and determination.
I think there is an element of nihilism about, but I don't think most artists feel their work is meaningless.
I give a lot of shoes away, but there are some shoes that sometimes I'm like, I don't think they ever even released these. Sometimes, I don't know what they've released. But sometimes, friends of mine that work for Nike will visit and say, 'They never made these, so you need to hold on to these.'
I work in both very strict conditions and very loose, more open-minded conditions in advertising, and Nike is by far the most open-minded of all.
Throughout the years, many Christian women have told me of their great respect for the bravery and courage evident in my work, perhaps even gesturing to their own Isis earrings or a Nile River Goddess pendants.
People don't realize I make records eight or nine months before they come out. I'm directing the videos; I have a lot of work to do. I'm very involved in all that stuff creatively.
I was raised on, 'You go get a nine-to-five job, earn your pay and work your way up.'
Even when my parents were together, they both had to travel and work, and it wasn't like they had nine-to-five jobs. In that way, it wasn't a normal family life.
I didn't want to go to college or work in an office or have a nine-to-five job. I knew that quite clearly before I left school.
Aside from my modelling, by the early Nineties I was also starting to work as a photographer, which I loved.
I think there's a lot of mythos about what's required in acting. The way that actors talk about acting is generally quite punishing, and I think actors want to put forward the idea that they do all of this work because, you know, it's a post-De Niro world, when, largely, in fact, it's almost never true.
The way that actors talk about acting is generally quite punishing, and I think actors want to put forward the idea that they do all of this work because, you know, it's a post-De Niro world, when, largely, in fact, it's almost never true.
My son has been known to throw a book at the television set when he called for me to come play and I was obviously busy in the box. But I'm told that children of television performers grow up thinking that all mommies or daddies work on TV and that it's no big deal.
