A Quote by I. M. Pei

I came, I studied architecture in America, so my technical background's completely western. But my seventeen years, the formative years of one's life, and I can't say that the Chineseness in me is not there.
I did go to Beijing, with a two-year assignment. I stayed four years. And those four years were the most formative four years in my life. What I learned was more than I would have learned in 10 years in America or Europe, and I wouldn't trade it for anything.
Now they came back to him, on this night he was seventeen years old. All the years and places of his brief broken life came within mind's reach and made a whole again. He knew once more, at last, after this long, bitter, waisted time, who he was and where he was. But where he must go in the years to come, that he could not see; and he feared to see it.
You're always looking at last year, or 10 years ago, or your school days, or your teenage years, your formative years. Because that's exactly what they are, they're your formative years.
My mom is American, so I was raised in her household in my formative years. But as I got older, my pops tried to keep me involved with the culture by telling me the stories of the conflict between Ethiopia and Eritrea, how he came to America, and about our family back home, because all that side of my family, my aunties, grandparents, is in Africa.
This is what I know. I look like my father. My father disappeared when he was seventeen years old. Hannah once told me that there is something unnatural about being older than your father ever got to be. When you can say that at the age of seventeen, it's a different kind of devastating.
I came up during the formative years of TV.
I didn't start really playing the guitar till I was about seventeen, and I never really had those formative years are where like I was in my room, figuring all that stuff out before I hit the stage. I just did all that on the road all at once, so all those years of playing roadhouses in bars and clubs, I was really figuring it out.
My dad told me, 'It takes fifteen years to be an overnight success', and it took me seventeen and a half years.
I went to school for engineering, I studied jazz. So I always had this kind of creative side and technical side, and I thought architecture might be the way to combine them, so I went to architecture school in New York.
Many of the people I've worked with over the years came from a sketch-comedy background or an improv background, and I've learned a lot from them.
I studied Sanskrit for many years, and I've got all the coursework for my Ph.D. And a lot of what's going on in American Yoga is just made-up stuff. Smart people, even good people, Western therapists, Yoga therapists and other things, Western healthcare practitioners who love Asana and say, "Let's make up yoga therapy."
I started writing when I was twenty, and my first book came out seventeen years later.
They say the music you listen to in your formative years stays with you and leaves an impression for the rest of your life. For me, the things that I fell in love with happened in the '70s, when artists were nurtured by record companies and it wasn't about singles.
I was 7 years old when the '80s began and 17 years old when they ended, so it was an incredibly formative decade for me.
I studied adab for thirty years and I studied knowledge for twenty years.
That period, doing 'Angels in America' in '94 and then filming with 'Basquiat' in '95, those were gateway years for me as an artist. Two gateways, one into the film industry and one into the world of theater, each formative to me in different, equally essential ways.
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