A Quote by David Chipperfield
A building is no good if someone's got to explain to you why it's good. You can't say you don't know enough about architecture - that's ridiculous. It's got to work on many levels.
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My dad, he's definitely one of greatest writers of his generation. There is no question about it. When you are that good, when work is that good, you have to appreciate every aspect of it. It's the architecture of it, it's like looking at a Frank Lloyd Wright building or a Lautner building, it's master craftsmanship. Every aspect of it intertwines in a perfectly harmonious way. That's what architecture is at its best and the architecture of my father's music is on that level.
If you ask men why they did a good job, they'll say, 'I'm awesome. Obviously. Why are you even asking?' If you ask women why they did a good job, what they'll say is someone helped them, they got lucky, they worked really hard.
I know quite well that one needs ridiculous, mad situations like that; one can't write really well about anything else. Why was that old fellow such a marvelous propaganda technician? Because he had so many insane, excruciating things to get excited about. You've got to be hurt and upset; otherwise you can't think of the really good, penetrating, X-rayish phrases.
I love a mask. It's why I've got a thing about good writing. When you're acting, you're going into someone else's work. You're behind his words; it's not you.
Honestly, I don't know enough about what's a good timeslot and what isn't. Either you have a timeslot where nobody is really tuning in, which isn't good, or you're in a good hour, and then you've got a lot of competition.
When I was young, many people didn't know what figure skating was. Some who knew of it thought of it as dancing on ice. But, as I entered international competitions and got good results, many people got to know more about it and came to cheer for me.
Architecture is not about building the impossible, which we can do if we have enough money and enough tools and enough computers. It is about building what is appropriate and about attaining beauty through such an approach. I describe this premise as 'inherent buildability', and I believe it is central to what I do.
Downtown Toronto is a very good place to talk about the neutrality of modernist architecture. I'm sure this kind of box-building was interesting in the Twenties, Thirties and Forties, but I think it's absolutely ridiculous to build like this in 2013.
I can't explain chemistry. I really can't. I haven't got a clue what it's all about. It just happens. It's like falling in love. You can't explain why you fall in love or explain why it's this particular person.
First I got a yo-yo. I got good and then I got bored. Next I got one of those wooden paddles with a rubber ball at the end of an elastic band. I got good and then I got bored. Then I tried bubbles. I got good but I never got bored.
If you've got a good enough business, if you have a monopoly newspaper, if you have a network television station - I'm talking of the past - you know, your idiot nephew could run it. And if you've got a really good business, it doesn't make any difference.
We act like God's only good when the outcome is good. We say, 'We've got a good God because I've got a good job.' But what if I don't have a good job? Does that mean God's not good anymore?
It's not great if someone gives you sort of bland praise without giving you clear direction and say, "This is good, let's try it like this." I have worked with someone who seemed quite inarticulate and just would say, "That's good, that's good." That's very frustrating because - it's nice to know something is good but you know it can always change.
I feel that I have not got my due in films. However, I did a lot of good work on television and that's why I never got typecast.
Success in anything is about focus and concentration. When I coached, I'd say to the players, 'Yes, I know you played hard, but that's not good enough. You've got to stay focused on the task at hand the entire game.'
If you've as many films as I have, and missed as many opportunities as I have to do good work and been pissed off about it, you say, "Well, now you've got to start getting it right." If you get a chance, you really want to cook. And the tragedy is, when you finally feel that way about yourself, about your work, nobody wants to give you a chance. And that happens to a lot of actors. But I'm feeling very wanted these days, so there must be something in the air.
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