A Quote by Imran Amed
I realised I had to work in something creative, but with a business and global element. And that I had to do it while I was still young and had an appetite for risk.
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I had long had an instinct about there being a role for me in a creative industry. Maybe I didn't listen to that voice as much earlier on, but when it had become a deafening sound in my head I realised I had to go and explore it.
I realised I had an issue with my mobile phone use when a friend started explaining the virtues of the Fast 800 diet and, while still engaged in the conversation, I pulled out my phone and ordered the book before they had finished their sentence.
He had realised that most vital of humanities. he had touched lives. And he had raised three boys that no one had wanted into men.
I had a couple albums out that sold well for who I was at the time and the type of music I played. People started recognizing my name and face and it helped sell bigger venues. I had a bigger spotlight and I had to live up to it but I thrived under that challenge. It expedited the creative process. If I was on stage in front of 300 people instead of 30, I had to work harder at my performances because I had a greater responsibility. It was very exciting, but creative too.
A lot of people are like, "Oh, it's so much easier to be a supermodel now because you have Instagram. You don't even need an agency anymore." But that's just not true. I still had to go to all the castings, I still had to go meet all the photographers, I still had to do all of that to get to where I am now. There wasn't a step taken out just because I had social media. I still have 12-hour days, I still have even 24-hour days sometimes; I still have to do all those things. We don't work any less hard than the '90s models did when they were young.
I had a fascination with the back side of the business, and the creative process always fascinated me. Vince gave me an opportunity in '98 to sit in the production meetings. He would talk creative with me, and we had this creative rapport.
Now when I had mastered the language of this water, and had come to know every trifling feature that bordered the great river as familiarly as I knew the letters of the alphabet, I had made a valuable acquisition. But I had lost something, too. I had lost something which could never be restored me while I lived. All the grace, the beauty, the poetry, had gone out of the majestic river!
By 1961, when I got my first copywriting job, 'my kind' were suddenly in demand. The creative revolution had begun. Advertising had turned into a business dominated by young, funny, Jewish copywriters and tough, sometimes violent, Greek and Italian art directors.
I was probably 13 or 14 when I realised I had a chance to make it. That's when I realised that a bit of education had to be sacrificed in order to become a footballer.
To get players for MLS, we sometimes had to go to places where nobody else goes. The big teams have global scouting networks but we had to be creative.
I was so young when my dad died that I didn't think it had affected me. I had such tiny memories of him, just little glimpses, I thought I had been unaffected. But then I realised, somewhere in my late 40s I think, that probably the defining thing in my whole life was losing my dad.
Two months ago I had a nice apartment in Chicago. I had a good job. I had a son. When something happened to the Negroes in the South I said, `That's their business, not mine.' Now I know how wrong. I was. The murder of my son has shown me that what happens to any of us, anywhere in the world, had better be the business of us all.
I think my biggest problem as a creative person trying to work within a business for profit was that it was very important to me that people liked me. Over the years, observing other showrunners who made work that I so admired, I realized that that had to go. This couldn't be my first priority. My first priority had to be the work.
In the beginning, the U.S. government was happy with its secret operations, since it thought it had managed to gather all the evils of the world in GTMO, and had circumvented U.S. law and international treaties so that it could perform its revenge. But then it realised, after a lot of painful work, that it had gathered a bunch of non-combatants.
I've never had a problem with age; my feelings and emotions are still like those of a young woman. Thank God, I can still be surprised and excited, and I can still dream. I think that's something no one should stop doing, because it's what keeps you young!
I had just come off my third consecutive failed television series. I had sworn off doing TV for a while. I was going to go to New York, sublet an apartment, and find my soul again. Before I got on the plane, my agent sent me the script for 'Psych.' I read it on the plane and realised it had a lot of potential.
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