A Quote by Ji Lee

This project started nearly twenty years ago as an assignment in my typography class at art school. Students were encouraged to see letters beyond their dull, practical functionality. We played with their unique shapes and tinkered with their infinite possibilities. The challenge was hard, so the reward of “cracking” a word felt great. This became a lifelong project for me.
When I was about seven, one or two people encouraged me, and art became an enormous and important refuge. By adolescence, I was absolutely passionate about it and felt those paintings and those painters, whether they lived a few hundred years ago or were still alive, were somehow my companions.
It depends on the project, what's happening that day on the project, at what stage were in on the project; it various from project to project and where we're needed.
It's nothing. A school project. My go-to answer for anything. Staying out late? School project. Need extra money? School project.
My last name is Taylor. So in school, every time we got a project, I'm at the end. So I get to see the whole class do their project. Then, when it comes time to do mine, of course I'd pass, and the teacher wouldn't have too many questions.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
I went to art school in the days when it was what you did if you didn't want to be like everybody else. You wanted to be strange and different, and art school encouraged that. We hated the drama students - they were guys with pipes and cardigans.
As a result of the prison study, I really became more aware of the central role of power in our lives. I became more aware of the power I have as a teacher. I started consciously doing things to minimize the negative use of power in the classroom. I encouraged students to challenge me.
I went to acting school, and there were twenty other actors in my class who were exceptional. It's hard for anybody to get work. When I was trying to get jobs, I felt a responsibility to be respectful of the opportunities and take challenging things that could be interesting both for me as an actor and for the audience.
I'm most enthused by the younger people...and I wouldn't have said that two years ago. I spoke at two college campuses (in Wisconsin) and the students weren't interested. Public Service was a dirty word to them. Now they see it differently. They see you can come together and have a positive impact. I'm encouraged because they now see that we can win on these issues.
I once was in a project. They were going to do a remake. Somebody started a rumor I wanted more money. I said, 'This is ridiculous. I'd kill for this project!'
I float from one project to another project, so you miss people and you don't see them for years.
I see myself as a technical person who chose a great project and a great way of doing that project.
At first, 'Family Ties' seemed to just be a wonderful project of its time. These were the Reagan years, the new conservatism. Alex P. Keaton quickly became the Fonzie of the '80s, so it seemed very much a product of its time. But I soon began to realize that it went far beyond that. These great family shows transcend whatever time they are in.
During the summer of 1963 between my junior and senior years, I began a research project on hypothermia in the Department of Surgery with Sidney Wolfson. I quickly became fascinated by the project and continued working on it throughout my senior year.
I got a chance to work with Miles Davis, and that changed everything for me, 'cause Miles really encouraged all his musicians to reach beyond what they know, go into unknown territory and explore. It's made a difference to me and the decisions that I've made over the years about how to approach a project in this music.
Everybody was telling me I should just stand alone on my first project, and I started to see what they were saying.
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