A Quote by Joe Sestak
Well, you know, I kind of lived my whole life with people, on a Navy ship, and I'm son of an immigrant. And we've all - really appreciate being able to make something clear in a simple way that families quite understand.
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One of the problems in the Navy is that tradition of being captain of the ship. And an awful lot of people can be retired in the Navy, get over it, get a life, and go on. But there's a lot who can't. And when they have to give up the ship, they got to be captain of something, every single day.
Being raised in an unstable household makes you understand that the world doesn't exist to accommodate you, which... is something a lot of people struggle to understand well into their adulthood. It makes you realize how quickly a situation can shift, how danger really is everywhere. But crises when the occur, do not catch you off guard; you have never believed you lived under a shelter of some essential benevolence. And an unstable childhood makes you appreciate calmness and not crave excitement.
You’re directing a movie, but you are at the head of a ship of people, a whole fleet of people. And being able to manage that - being able to handle yourself as a director being a leader - that’s massively important.
I know I'm going to have to get beyond being George H.W. Bush's son and Barbara's son -- for which I'm really proud. And I'm going to get beyond being George W.'s brother for which I am extraordinarily proud as well, there's a lot of interest in finding the ways that we are different and all this. Well, the simple fact is that we're all on our own life's journey -- my brothers and sister are different than me.
I love this idea of being able to touch people with something quite familiar, something quite emotional, and at the same time, have the feeling that this is a new way of doing it, a fresh way of showing things. I like radical people. At the same time, I'm fascinated by popularity, people who were able to have huge success and also keep their consistency.
I feel a responsibility, as I get older, to be responsible to what I've experienced, to what I've lived and been in a position to witness. I realize now that as a consequence of having lived the life I have, quite apart from the one, as I understand it, lived by most American writers, maybe I now know some things and have some stories to tell that others don't know about or wouldn't be able to tell. Maybe there's an intrinsic value in that lived experience and knowledge, though of course what you do with it is everything.
When you ask people what it is like being part of a great team, what is most striking is the meaningfulness of the experience. People talk about being part of something larger than themselves, of being connected, of being generative. It becomes quite clear that, for many, their experiences as part of truly great teams stand out as singular periods of life lived to the fullest.
There's nothing confessional about crafting and shaping a story out of a lived life. In fact, it's quite the opposite - the writer has to be able to transcend the life, to see it as if standing outside of it, in order to be able to make something of it. There's something enormously satisfying and gratifying about crafting something, taking all that chaos and giving it shape.
I can understand the value of the immigrant experience and that we have become the nation that we are because people like my grandmother were able to make a life in this country.
Something good happened to my writing when I stopped being afraid to do something simple, for the fear that people might think I couldn't do something more complex. Don't be confused by the word simple. Simple is not easy, it is clear voiced, and fearlessly elegant.
They will not be pleased. But they know we must catch the monsoon with a well-found ship; and they know they are in the Navy--they have chosen their cake, and must lie on it.' You mean, they cannot have their bed and eat it.' No, no, it is not quite that either. I mean--I wish you would not confuse my mind, Stephen.
I appreciate it if I make a Chinese film. And if there is an opportunity to make a Hollywood film, I will take it - especially because, as you probably know, in Hollywood, even today, there are not a lot of big roles for Asian performers. So it is a great opportunity. It is possible to make films that people everywhere enjoy. I travel quite a lot. I don't really feel like when I am in China, I am a Chinese person and when I'm here, I'm a foreigner. I don't feel that kind of difference anymore. In the past I did. Not anymore. I feel quite at home everywhere. The whole world is my home.
I think the idea of being on stage and playing for people, and being able to inject a little bit of joy into their lives is a really exciting concept for me. That's definitely why I make music. It's never been for any kind of materialistic reasons, so that thought of being able to be up on stage, and being able to give something to someone in a moment of need for them - that gets me up in the morning; that really excites me.
I think what really people want is just a few things done really, really well. And if you think about ever day of your life, the things you really appreciate aren't the complicated things. They're the simple things that work just the way you expect them to.
Families that I lived with a little bit in junior high and quite a bit in high school and college. Just to have a safe, sane space with food and things like that. That's what I needed. And people were really kind and really generous. So I think the world kind of opened up my first years of performing arts, studying classical saxophone with Caesar DiMauro.
Simplicity is the ultimate sophistication. It takes a lot of hard work to make something simple, to truly understand the underlying challenges and come up with elegant solutions. [...] It's not just minimalism or the absence of clutter. It involves digging through the depth of complexity. To be truly simple, you have to go really deep. [...] You have to deeply understand the essence of a product in order to be able to get rid of the parts that are not essential.
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