A Quote by Elden Henson

I tend to try and really separate my work from my real life. — © Elden Henson
I tend to try and really separate my work from my real life.
I don't tend to work directly from life, except in trying to mimic or match the outlines of its insanity. In other words, when I live through something, I just try to say to myself, "OK, remember this - life is really this crazy or scary or beautiful or surprising - so try to 'get at' that in your stories.
When we try and blend the two together, the songwriting and the touring like we did before, it doesn't really work. We tend to become very focused on what we are doing. And we tend to be a little bit one-track-minded.
Work infuses my whole life. My creative life is my real life, so it's hard to separate.
I work pretty much every day. I can't really separate it from life, so I guess the work is my life.
I honestly try to have the approach that this is real life, this is the real world that we live in, and I don't really try to shelter [my son] from a lot of things that he's gonna see when he looks out of the window.
I try to use models at least for the main characters because of the nature of my art. I tend to focus on the humanity of my subjects, the details of expression that add a certain reality to the work. Real faces = real art. That's the goal anyway.
I don't really like to compare my life as an actress and being my son's mother. My personal life and my professional life are very different, and I try to keep them separate, just because my personal life is so precious to me.
This little separate self must die. Then we shall find that we are in the Real, and that Real is God, and He is our own true nature, and He is always in us and with us. Let us live in Him and stand in Him. It is the only joyful state of existence. Life on the plane of the Spirit is the only life, and let us all try to attain to this realization.
If you work hard in real life, people tend to get in your way - either from inertia or prejudice - and they stop you achieving things. It's the worst thing about real life compared with sports, where you generally get what you deserve: if you're the fastest guy, you win; there are no other games being played.
I tend to live my life on planes, and I don't separate my social life and my business life.
You know, we're very private, and I think that we really separate and try to keep our privacy to ourselves. There's things that people assume a lot of times, and we understand that people are interested, but we really try to keep our family life private as much as we can.
That is why in adult life, people generally tend to relive rather than live, that is, to repeat the patterns of the past and defend the primary fantasy in the defiance, and avoid the real gamble or real adventure of taking a chance on something new. They are afraid that if they really cry out, if they really ask, if they really scream for help, that it won't come, and they'll be in the same panicky frightened state they were in when they were little.
I perform in art time and in real time, and you can't tell the difference - no one knows how to separate a real act from an art act in my work. When I lived on the street for a year, people only knew that I was homeless. They didn't know that I was an artist doing a piece. I have to use real time in my work. I do, however, have to find a subtle way of documenting real time, in order for people to have a response. That means punching into a work clock every hour in the case of one piece.
I tend to write two stories every day, five days a week. It's a real grind. But it also allows me to really try to have my finger on the pulse of injustice in America.
I don't really have a schedule; I just get up in the morning. I work at home. I don't feel that my work is a separate thing from living - I get ideas about what I want to write about from the real things that I'm worrying about as I live.
I tend to avoid melodrama. I try to create very realistic settings and very realistic experiences and realistic responses to these experiences. Melodrama is the use of really big events that may or may not happen in real life - certainly they do, but they're not events that are common to most people. Most of the things that happen in my novels are things that could happen to people in real life.
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