A Quote by David Bailey
I suppose because my work was so popular people didn't really look at it.
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I don't think, generally speaking, people become writers because they were the really good, really cool, attractive kid in class. I'll be honest. This is our revenge for people who were much better looking and more popular than us. I was a bit like that, I suppose.
Why are fish unsustainable? Because they're popular. What makes restaurants work? Popular dishes that people come back for.
I suppose I do the Japanese because I just don't know China. Chinese popular culture has never evoked that instant of, "Whoah! What's that?" that I have with Japanese popular culture.
I suppose some people find their voice later than others, but it's interesting to look back at really early work to see that there's some kernel or a Rosetta Stone, in a way.
You should turn around at the end of the day and say I really like that piece of work, or that piece of work sucked. Not, was that popular or wasn't it popular?
Ignorant people always suppose that popular writers are wonderfully well-paid - and must be making rapid fortunes - because they neither starve in garrets, nor wear rags - at least in America.
It takes me about three years to write a book. They're very complex, and they take a lot of research, but also because the more popular your books get, the more popular you get, and people want to haul you off and look at you.
I thought I had to work at someplace everybody's heard of. It was never, 'I'm interested in such and such. I want to work in such and such magazine.' It was like, 'Oh, my G-d, I really need to work for somebody so people will think I'm OK.' So I got a job at 'Popular Mechanics'.
Manuel Valls is popular because the others in the government are unpopular. Interior ministers are always popular because they give people the feeling that they are taking care of security, even when they are just people with tough words and a soft hand.
I suppose I have a really loose interpretation of 'work,' because I think that just being alive is so much work at something you don't always want to do. The machinery is always going. Even when you sleep.
I suppose I have a really loose interpretation of 'work', because I think that just being alive is so much work at something you don't always want to do. The machinery is always going. Even when you sleep.
I really look up to Louis C.K. I think he's great. And obviously he's very popular, more popular than me. Years ago, I was thinking, naively, it would be great to be that popular. And then I thought about it and then I realized that, with his money and his level of notoriety, he has all of the same emotions that I do.
So many Hollywood adaptations of really popular manga series just don't get it right, and for me what was really important was that if I was gonna do 'Naruto,' I wanted to actually work with Kishimoto and get a script to a stage where he would look at it and be excited about realizing it.
I've got to work with people who have had really fantastic careers and who are still lovely people to be around. So, I suppose that's kind of a big inspiration for me - to work for as long as possible but to continue to enjoy it. I want to be a part of the process, rather than just wanting the rewards.
Kevin Feige and I have very smart people who work for us, who make sure that we see everything. And that we actually see everything. They see everything, tell us about it, we see it. You have to have people who work with you, who say 'you have to look at this film'. And then you look at it. You really have to look at it. You have to look at movies all the time.
A lot of people seem to think that art or photography is about the way things look, or the surface of things. That's not what it's about for me. It's really about relationships and feelings...it's really hard for me to do commercial work because people kind of want me to do a Nan Goldin. They don't understand that it's not about a style or a look or a setup. It's about emotional obsession and empathy.
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