A Quote by Jeff Lemire

I've always been attracted to themes of isolation in my work - in my independent work and my DC work. — © Jeff Lemire
I've always been attracted to themes of isolation in my work - in my independent work and my DC work.
Let's see... Rihanna! Work, work, work, work, work, work; OK, what? How much work does it take to move your behind, honey? I don't understand the job situation you're going through.
And to get the work done that I must do, one has to work in isolation and not be readily disturbed... I don't have daily newspapers, and I like to feel when I get up in the morning my attention is fixed on the work I am going to do.
I work all the time; whatever I do, I do it, and I don't necessarily look at it as work. You could say the Auschwitz project was work, or the Lowy Institute is work, or Westfield is work, or the football is work. It is life.
If I find a great idea, I work on it at the beginning, then bring in other people to make things work. Actually, I've always been good at getting out of work.
I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.
As a working actor, all I want to do is work. That's it. It's terrifying when you don't work. It's very hard when you don't work. There have been times when I've been out of work for like six months. I feel theatre to me is like manna.
An actor and a [theatre] director are both what I would call interpreters of work. We interpret a work, just as a musician will interpret a composer's work, we interpret the work of a playwright. We are servants of the theatre and I've always believed that. We must serve what has been written, that's what we're there for.
We only work? the most I ever work is three days a week. Very rare that I will work four. If I?'m involved in a scenario where they need me to be in it, I don'?t mind. They always work around my children?s schedule, their sports, and stuff like that. That?s been very important to me.
Independent dance - and, fine, it's a very good thing that it remains independent - is a much tougher life: all dancers expect that, and accept that there will be periods of not being able to work, provided there are choice moments during the year when they really can work.
I usually work really instinctively and it's afterwards that I think about what it means. I don't know consciously that I have these themes that run through my work.
Mickalene [Thomas] is an artist that I have admired for a long time. So much of her work inspires me - I spend time looking at her work when I'm writing. I feel like we're working toward the same themes, and I see our work in conversation, whether we know it or not.
The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.
Work begets work. Just work. If you work, people will find out about you and want to work with you if you're good. So work anywhere you can. That's why I've changed my mind about these theatres where people work for free or have to pay money. I think it's kind of terrible that they feel they have to, but you know what? They're working.
Is it good, bad, or neutral to recognize thematic patterns in your own work? When it comes to recurring themes, I'm of the mind that knowledge is probably not power, at least in terms of the work.
I'm an all-or-nothing guy. When I'm working, I work, work, work, work, work, and when I'm not, I'm the laziest sloth this planet has ever provided us.
I work a lot and I like to get out and work but the work I do to make the other work work I'm not very good at.
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