Under the Trump presidency we have a unique opportunity to actually roll back regulations, make the economy work, and more importantly make sure that the swamp does not consume Washington, D.C.
People must work in unison.
On a Spike Lee set, everybody seems to want to be there and is motivated to work in unison and do the best they can.
I think of myself, an Iranian/American artist, and wonder what would I want if I'm ever imprisoned by the Iranian government for the work that I make? I answer: I would hope that the United States government comes to my rescue.
As a sociolinguist, I want to know how cultural differences affect the ways people talk and listen. My research method, inspired by the work of Robin Lakoff and John Gumperz of the University of California at Berkeley, is sociolinguistic microanalysis. I tape-record and transcribe naturally occurring conversations.
You can't make movies without known names, and unknowns can't become known, because they can't get work.
The post area I had to unlearn. And yeah, now it's a relearning process. It's different. It's learning what works and what doesn't work.
I'm very good at deconstructing. I'm a very good troubleshooter for why something is unlikely to work. And most everything is unlikely to work.
Writing has always been an incredible outlet for me to feel like I have a voice, even when sometimes I was the only one reading my work. It has been a way for me to unlock my imagination. That's when the world becomes yours, after all.
My background is really being a writer's actor - that seems to be the way I work best, bringing out the best of writing. There's a whole range of acting skills, and some people can be astonishing with very poor material. That's not me; my skill is essentially unlocking the writing.
Women now have choices. They can be married, not married, have a job, not have a job, be married with children, unmarried with children. Men have the same choice we've always had: work, or prison.
These films however, have ambiguity built into them, because it's too easy in film to make a strident work of propaganda or advertising, which are really the same thing anyway, meaning the message is unmistakable.
I am the most successful unsuccessful actor in New York. And I guess with that, maybe apparent only to myself, there started to be a very subtle but unmistakable whiff of entitlement, bitterness, jealousy. I was not respecting the work.
I'm a little hesitant to make my characters sentimental or to risk having the work labeled sentimental. It's something that I resist as a reader, and I don't resist it in life. I'm not an unmoved person by any stretch, but I think I don't want, I guess, to indulge those kinds of things sometimes in fiction. I can't tell you why exactly.
I've had work done on my eyes in the past. However, I think there are limits. I wouldn't ever have too much done, as it looks unnatural, and I don't think you should do anything to your lips, as it changes the entire shape of your face.
So, my advice to young scientists is, think critically about your work; probably don't blab unnecessarily.
A lot of people don't know what I do. In the industry they take credit for work because to some degree it makes them feel worthy or greater. I am not a ghostwriter 'cause it is on the CD covers who wrote and did what but people don't care about anything they can't see. The work gets unnoticed and the credibility goes untouched.
My work is so unorthodox that from one panel to the next, the drawings are completely different... totally opposed to the way of working in something like animation, where every drawing has to look like the one before.
When women are expected to bear the burden of unpaid work, everyone loses.
Women are often paid far less than men, while they also perform most of the world's unpaid care work.
