Personally, one of the greatest sources of inspiration for my work has been architecture. I've had the chance to see so many exquisite structures, whether they are historical monuments or modern commercial premises.
In practice, socialism didn't work. But socialism could never have worked because it is based on false premises about human psychology and society, and gross ignorance of human economy.
Madonna is that forbidden thing, the Nietzschean creative woman. Her preoccupation with a high level of work doesn't allow her to follow the usual script that powerful women are expected to follow - 'don't hate me for my success, don't hate me for my power.'
From what I've heard, Paris did a little bit more prep work as far as making bike lanes and all of that stuff. They really did it properly, which New York is getting to little by little.
When I went to prep school in New York City, I had to ride the subway and learned how to do homework on the train. I can work and read through anything.
I just never want to be in this situation where I get to set and they're like, 'We rewrote this scene, you're now naked.' I need a little prep work.
For one human being to love another; that is perhaps the most difficult of all our tasks, the ultimate, the last test and proof, the work for which all other work is but preparation.
It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.
I come from a pretty working-class neighborhood in Chicago. Hard work was just expected of you. It wasn't some noble thing you did; it was a prerequisite. It's what a man did. You get up, you put on your boots, and you work hard. We've lost a lot of that, I'm afraid.
I certainly support anyone's prerogative to hire or not hire whomever they choose, and I definitely don't want to work for someone who doesn't want me.
My father and I used to tussle about me becoming an actor. He's from strong, Presbyterian Scottish working-class stock, and he used to sit me down and say, 'You know, 99 percent of actors are out of work. You've been educated, so why do you want to spend your life pretending to be someone else when you could be your own man?'
I'm Ulster Presbyterian. We understand the need to work hard from an early age.
I definitely think that prescription drugs, like antidepressants, are prescribed so cavalierly, anyone can get anything, but I need it. I do think that it needs to work hand and hand with therapy.
From my parents, I learned a very strong work ethic, and all of my brothers and sisters all worked from the earliest days of life right through to the present time.
Writing for the stage is different from writing for a book. You want to write in a way that an actor has material to work with, writing in the first person not the third person, and pulling out the dramatic elements in a bigger way for a stage presentation.
I think generally playing live is a crap idea. So much of stage work is the presentation of personality, and I've never been interested in that.
During my years as a press secretary, I developed a powerful internal filter, which worked to strip all things 'off message' from my thoughts before they came out of my mouth. It didn't always work, of course, and I said more than a few things I regretted.
I never quite understood these actors - though I envy them sometimes - who can lie out for a year or two. I feel as though time is a real pressing issue, and I want to get as much work done in the time that I have left.
Pray thee, spare, thyself at times: for it becomes a wise man sometimes to relax the high pressure of his attention to work.
If my energy was fake, then I would feel pressured, because I gotta, like, keep this up. I thank God it's just how I am. But I find myself wanting to work on being more comfortable in the silence with people.
