A Quote by Alek Wek

When I was working, there was no digital. We actually worked; we used Polaroids. — © Alek Wek
When I was working, there was no digital. We actually worked; we used Polaroids.
The first thing I do is take Polaroids of the sitter - 10 or 12 color Polaroids and eight or 10 black-and whites.
It used to be that the working class, broadly speaking - Americans who worked with their hands, who worked in factories, who were not in management - were an interest group, a political interest group. And their main spokespersons were the Democrats. Their platform was the Democratic Party. And that began to change after the 1960s. Not for black or other working class Americans, but for white working class.
My colleagues and I were engineers who worked for DCM's calculator division. These electronic calculators used digital integrated circuits, and then they started using chips. The advanced versions of those chips were used for programmable calculators, which were the forerunners of PCs.
I've always had a preference for digital, all the way. I grew up through video and camcorders, and I was part of the VHS generation. I made all my stuff in high school on video, and worked for public access. Staying in digital is a very familiar, very natural progression of the things that I've worked in before, and I always try to break as much new ground as I can.
I'm used to working alone. Frankly with some of the actors I've worked with, I've felt like I was working alone.
I love digital books. And I actually started digital-first publishing back in 2005.
I spent a lot of my time working in the American module, and he would stay in the Russian segment working on his things, and we'd meet up at meal times. So it actually worked out very well.
Peter Hinwood found all these old pictures - Polaroids - and when I saw them, I just didn't believe that the person in them was connected with me. I was in a hotel room with one of those front-and-back mirrors, and I thought, Who the hell is that? I used to be thin as a rake. I used to have the nice-shaped pecs. It's sad. No, it's not sad, it's the reality, and I've accepted this now.
We live in the digital age and, unfortunately, it’s degrading our music, not improving it It’s not that digital is bad or inferior, it’s that the way it’s being used isn’t doing justice to the art. The MP3 only has 5 percent of the data present in the original recording. … The convenience of the digital age has forced people to choose between quality and convenience, but they shouldn’t have to make that choice.
Using film was so much easier than the digital technology of today. But digital is still at the beginning of what it can be and they'll be fixing all those problems. It's just too complicated - negatives, tinting, flashing - it's a whole new system that takes a lot of time. Of course, it's not as physical. Even the editing. You used to feed a piece of celluloid into an editor. [Digital] is not expensive and that is an advantage, but I must say that I don't love it.
So I never had trouble getting work or working or doing - I always worked. I worked when I went to college. I worked after school.
I spent my life working before I started band. I worked construction, landscaping. I worked in kitchens, cleaned dishes. I worked demolition.
When I went to L.A., I had trainer there, worked on Parkour and boxing to get my body used to working out every day.
I was working at Talesai, which is a Thai restaurant on Sunset. I actually worked there through selling my first script.
This idea of the digital native in the bedroom taking down a fascist regime and building a billion-dollar company is a very attractive image, but actually, if you look at the research, young people are on the lowest rung of digital opportunity.
I used to work for Symantec AV: I worked as their in-house IT technician, and then I worked as specialized AV support, and then I worked for Hartford Life IT, in Dublin and London. I worked in IT from '99 through to 2007.
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