A Quote by D. H. Lawrence

We do all like to get things inside a barb-wire corral. Especially our fellow-men. We love to round them up inside the barb-wire enclosure of FREEDOM, and make 'em work. Work, you free jewel, WORK! shouts the liberator, cracking his whip.
Most folks are like a barb-wire fence. They have their good points.
If you got to castrate your miser'ble self with a piece o' rusty barb wire, do it.
The very first thing I ever did, I was doing some work for the French Cultural Center. They wanted a little recording set up. And I got wire. A wire recorder. The wire came off spools, and to cut and edit, you tied it together in little square knots. Can you imagine?
My very first tattoo was a crown of thorns around my upper left arm that I have since gotten covered up, because I got it right before Pamela Anderson came out with 'Barb Wire.'
I use non-fiction work written by Whites in my research. It's indispensable. That wasn't the problem. I said that "The Wire" was a cliché! It's like my writing a series about Jewish life and casting all of the characters as inside traders.
Ambas and Bobia Islands are perfect gems of beauty. Mondoleh I cannot say I admire. It always looks to me exactly like one of those flower-stands full of ferns and plants - the sort you come across in drawing rooms at home, with wire-work legs. I do not mean that Mondoleh has wire-work legs under water, but it looks as if it might have.
I work via the high-tension-wire method, which is maybe going for long periods without writing while the tension builds up - when am I going to write this, am I going to be able to write this, what is this image about - and I'm thinking about it all the time, but I'm not really inside it, inside the writing.
I had this incredible opportunity with 'Stranger Things,' and now all it tells me is that people like my work, so I need to keep working. I need to push forward and put as much of my heart into every character I play as I did into Barb.
There's a little wire work, which is so much fun. You can fly, it's amazing. But I've had to mostly just sort of kung fu, you know, ground work. Footwork and stuff like that.
When a building is so complete within itself, I always think, "Why do I even have to go inside it?" I would love to do architecture that people can have a free hand in the making of it. We've done spaces where things are hinged and they can go out or in, but that's not freedom. That's supermarket freedom, or the notion that you can have anything you want as long as the supermarket carries it. We would love to do a space where you go inside and there's nothing there. You might have a seat and when you don't need it anymore you get up and it disappears.
The thing that's interesting about wire walking is that we never get to see it other than looking up. It's like a circus thing. It's a guy on a wire.
Hardcore wrestling like CZW is just nonsense. There's no story there. You've got guys jumping off of houses onto barb wired tables, and that's it. They don't know how to work. CZW is trash.
One of my biggest influences, of course, is David Simon and his work on 'The Wire.'
There's always a pattern in order to make a thing, but the starting point must be something I've never seen before. It's not two-dimensional, but it's like a sample. I work with patterns like a sculptor. I try to get [the team] not to work on a body, [but] to work on a free space, on a table. The work is basically on flat surfaces.
[Oz the Great] it's not like I had to imagine things, and as far as wire work goes, I had fun with it.
You're out there on a high wire without a net, and that's the way actors operate. They have to be fearless about how they work and they have to create a life for the audience in 90 minutes and make them believe.
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