A Quote by Joshua Lederberg
I was making a lot of momentous personal decisions. I was still very very young: when the prize was awarded, I was 33; the work I had done when I was 21.
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I haven't had a cramp since '99. That was my only time, in Davis Cup, when I was panicky. I was young. I'm very proud of that. Never pulled out. Never had cramps. Never lost very much because of fitness, especially later on in my career where I knew I've put in the hard work. I've done that. I've been very fortunate and clever as well to understand how I need to work, when I need to work. So I'm very happy to have stayed injury free for so long. I hope I can still maintain a few good years on the tour. I really hope so.
My first reaction on being awarded the Nobel Prize was, actually, I thought of Fischer Black, my colleague. He unfortunately had passed away. And there was no doubt in my mind that if he were still alive, he would have been a co-recipient of the Nobel Prize.
I started very, very young to make movies - I was 21. And at the age of 27, 28, I'd done already three movies.
Even though the money is great and the fame is great, you still have a lot of disenfranchised young men that are participating in the NFL that are not very happy. A lot of them are very bitter. A lot them are very angry. So many of them have had no fathers and no home life, and basically, no education.
In 2008, the Nobel Prize in Chemistry was awarded for work done on a molecule called green fluorescent protein that was isolated from the bioluminescent chemistry of a jellyfish, and it's been equated to the invention of the microscope in terms of the impact that it has had on cell biology and genetic engineering.
Not that that's my goal, but when you're very wealthy and very famous, you can have a lot more decisions in what you do. You have a lot more opportunity. You can maybe even not work for a few years. It puts you in a great position to make some decisions. You're not always taking every job that comes and that kind of thing.
You've got a generation of young men - almost all are young men - in situations of great economic hardship, where they don't really have work. The chances of them making a decent life for themselves, of making a family, living in a kind of decent, happy way, are very, very remote. It's very hard for them to ever even have that as a dream, so when people are that deprived of the ordinary hope of human beings, it creates anger. And that anger can be channeled by unscrupulous persons, whether secular or religious leaders, and there's been a lot of that.
There's a few historical reasons for why git was considered complicated. One of them is that it was complicated. The people who started using git very early on in order to work on the kernel really had to learn a very rough set of scripts to make everything work. All the effort had been on making the core technology work and very little on making it easy or obvious.
The Nobel Peace Prize is not awarded for what one has done, but hopefully what one will do.
When I was very young, there was a lot of music at home, mostly jazz. I was walking around singing and pretending I was in bands from a very young age. But the first song that was really personal to me was 'Blue Suede Shoes'.
It's a lot for young players to be expected to deal with all the media, and... there is a lot of pressure to be perfect, but at 19, 20, 21, 22, you're still young and learning.
I've done a lot of things for a very young audience so far, such as The Sarah Jane Adventures. I'm tiny and petite and I look very young, so I tend to attract those kinds of roles.
When filmmakers are kept from making films, there's a lot of different reasons why. Sometimes you work on a film and cast it and do all the work and can be just a month away from shooting, and all of a sudden, the whole thing goes up in smoke. But I do think the advent of a digital revolution is going to provide people with opportunities to make films that they never would have had before. I think you can do some pretty credible stuff now with very, very little money. Which I think is great for young filmmakers.
I had to do this very aggressive, big score in a very short time, and knowing that in the beginning, middle, and end would be this very, very famous theme, but I still had to weave a score around it and make it work as a score was really challenging.
I've been very honest with the press, even when I had work done on my face. A lot of people would cover that up. I want to be a voice for young women. I want to empower them. I've been through a lot, and I want to send them a relatable message.
People who have grown up in a world where this was not a concern and suddenly start hearing about climate change - it's very difficult. It's a very, very abstract concept. So we need to work on making it very educational and very, very clear, in very simple terms.
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