A Quote by Eleanor Catton
As an artist, you need to be not at all entitled in your relation with the work. So money is kind of worrying. You can start to expect things if you're used to a certain level of comfort.
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Start with the least amount of money possible. Some people say they need a certain amount to start, and I say you need a half of that or a third of that. That gives you the biggest return. If you put all your eggs in one basket, it's harder to adapt when you need to. Unless it's very capital-intensive, you don't need much money.
It's easy to attack an artist as misogynist, but that's really such a facile epithet. And if an artist is constantly worrying about how others will judge a work, it can end up being a block to investigating certain areas of human nature or certain truths about sexuality.
There's a certain level of comfort that comes when you move in together. The mystery is gone. She starts dressing for bed in your pajamas, cream on her face, Uggs, curlers. What happened to the sexy girl that used to come to bed in lingerie? The girl says, 'We don't need to act.'
As an artist, you have to work hard for things that you can't really hold in your hand. I work not for money but for my career, to expand myself as an artist. Every video I make, it's not making me any money; it's just because I want to expand.
When you get a certain level of resources, and you want things a certain way, I find it difficult to get too belligerent because it's not my money.In this case it is. It’s a lot easier to stand your ground and say “I want it like this” when you know it’s your money you’re spending.
We want to take ourselves out of our comfort zones; when you're in your comfort zone for so long, you only play to a certain level.
The truth was you can't continue to spend the kind of money our spending on all these entitlement programs. I think we need more people in public life who are willing to say, no, we can't afford certain things. No, we can't do certain things.
We're trying to learn from [Olympic] Beijing, which could be very intimidating. We've learned to expect it's power, it majesty and that it completes a cycle of certain types of shows... I don't think any nation could do anything on that scale. We haven't got that money, and I don't think anybody would have the appetite for that kind of expenditure and that kind of control, so we're going to try and do something a bit more intimate and try and start again... start a new cycle for these kind of ceremonies.
Every artist knows that there is no such thing as "freedom" in art. The first thing an artist does when he begins a new work is to lay down the barriers and limitations; he decides upon a certain composition, a certain key, a certain relation of creatures or objects to each other. He is never free, and the more splendid his imagination, the more intense his feeling, the farther he goes from general truth and general emotion.
We've all seen talented young players who get to a certain level but there comes a point where that talent will only take you so far. The great players go away and work on extra things. They work harder on their skills, they start having early nights and they think about their diet and training. That is what takes them to the next level.
When you change your focus to your purpose, you stop worrying about how much money you're going to make and your job title because those things to some degree are irrelevant if you don't love your work.
We're gone for 280, almost 300 days a year. So 70 to 80 days I'm home every year. Being an artist, you just gotta be ready to miss certain things, like Halloween and all these kind of things that you used to be able to be free for. Birthdays, all this kind of stuff.
A sermon is a form that yields a certain kind of meaning in the same way that, say, a sonnet is a form that deals with a certain kind of meaning that has to do with putting things in relation to each other, allowing for the fact of complexity reversal, such things. Sermons are, at their best, excursions into difficulty that are addressed to people who come there in order to hear that.
You need young, hungry, developing players in your team, but you also need that experience to level things out and get hold of some of the youngsters when they need advice in certain areas of the pitch.
I decided that the whole idea of what it means to be an artist was that somehow you are ontologically oriented toward poverty : "As an artist, you don't make money." I had to figure out some kind of way to guarantee that I'd be able to continue doing the work that I wanted to do, whether I made money from the work I was doing or not.
We need to work less to achieve more. We need to stop fighting food and start embracing it. We need to stop punishing our bodies and start providing for them. We need to slow down and enjoy and then we’ll get the results we’ve been looking for—and sooner than we expect.
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