A Quote by David Means

I don't want to be a commentator of my own work. If you've written the story, you've said what you want to say. — © David Means
I don't want to be a commentator of my own work. If you've written the story, you've said what you want to say.
Millennials want to find meaning in their work, and they want to make a difference. They want to be listened to. They want you to understand that they fuse life and work. They want to have a say about how they do their work. They want to be rewarded. They want to be recognized. They want a good relationship with their boss. They want to learn. But most of all, they want to succeed. They want to have fun!
I want to produce. I want to direct. I want to be my own camera man. I want my own boxing club. I have it all written down. I want to do everything.
I work for Fox News as a commentator. I say whatever I want. I'm the blonde on the left, figuratively and literally - the one who's usually smiling because it's T.V., not the Supreme Court or Congress, and I find civility more effective in any event.
In my own life, I've written scripts that I want to direct, so I would love to take my own creativity in a way where I could tell my own story. That does inspire me, the idea of becoming a director.
Since I went public with my story, I've never experienced such hate. I sometimes want to crawl under my blanket and hide forever and say, "No, that's some other girl who had an opinion." My blood has boiled a few times, but I just have to come back to earth and say people are entitled to their own opinions and I'm entitled to share my story the way I want. And that's exactly what I'm doing.
I try to avoid describing one interpretation of my books. Of course I have an opinion. I have things I want to say, but I don't ever want to limit anybody, to have them say, 'Oh, he said this, so that's what it's about.' I'm happy people bring their own stuff to it.
I want to advance myself in some areas. I want to go into broadcasting, be a boxing commentator and still get to travel, and I want to take courses so I can speak better. I want to take courses in business and promotion.
I didn't want to be written about as a human-interest story. I didn't want to be a passing thing. You know, now we move on to the fat girl who had her stomach stapled. I didn't want to become a gimmick: the disabled model.
Bod said, 'I want to see life. I want to hold it in my hands. I want to leave a footprint on the sand of a desert island. I want to play football with people. I want,' he said, and then he paused and he thought. 'I want everything.
I was watching TV at age 9 or 10, and my mom said that I came from the front room and I told her that I want to act. And she said if you want to do this at 18, then you can. It was a very simple story, yet, I do not even remember the conversation that I had with my mother. Until she reminded me of the story many years later.
I know what you want. You want a story that won't surprise you. That will confirm what you already know. That won't make you see higher or further or differently. You want a flat story. An immobile story. You want dry, yeastless factuality.
I want very badly to have a success story at the end of it, at the end of my career and say, regardless of how many matches I can win this summer, I want to go to the U.S. Open - for that be my final event - and say I went out on my own terms, instead of it being taken away from me in Winston-Salem in 2013.
I am very excited to work with people who have a strong vision of what they want. They're trying to tell a story, and they want to use me. I'm there to facilitate that. I really like that. I'm like, "Tell me where your frame is. Tell me what you want, what kind of story you want, and I will facilitate it." That's sort of my job, and it makes my work better when I'm working in that kind of a frame, and hopefully it's their work. It's incredibly collaborative, in the sense that you're working toward a common goal.
I hate acting when I see it. I don't want to feel it, I don't want to see it, I want to be taken away with the story - I don't want the actor's ego in front of me. That's what I try to live when I do the work.
The three things I said when I came out of school were I want to work consistently, I want to do good work and I want to be paid fairly, and that's happened. But I didn't become an actress for the money. I do it for other reasons.
I want the flashbacks to feel that once you're there they have their own unity, their own kind of atmospheric sensibility; I want the reader to be transported. The novel is a big, complicated, unknowable thing before it's written.
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