A Quote by Lesley Sharp
The thing that gives me most pleasure is when I feel I've really engaged with my colleagues, other like-minded individuals, in getting something to work, and that I'm part of something.
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I feel as though my criteria are based more on how challenging the role is, it doesn't have to fit into any particular profile, is it something that I've never done before, and is it something that I feel like I can really feel challenged and therefore fully engaged in, and that's when the work gets to be the most fun.
I feel like part of getting better at writing is knowing where to find that inspiration. Right after something happens to me, the first thing I'll do is go write when those feelings are really, really fresh.
I know I'm getting something out of it (counseling), Pat is getting something, even my daughter is getting something out of it. We don't like coming, but it is really helping, and it gives us some place to go together.
I'm not the "not-working" type. I derive pleasure from my work. Work gives me relaxation too. Every moment I am thinking of something new: making a new plan, new ways to work. In the same way that a scientist draws pleasure from long hours in the laboratory, I draw pleasure in governance, in doing new things and bringing people together. That pleasure is sufficient for me.
I wouldn't say the purpose of making art is to enjoy it necessarily. For me, it happens to be the thing I enjoy the most. I don't even know what the purpose of art is really, I just know that is something that makes me feel satisfied in a way that other things don't. That's all I know, that's why I like to write songs and films or draw. I just like to make things and somehow I find it gives me a feeling of satisfaction that I can't find in other areas of my life.
I have a gut reaction to stuff that I read. Either it's a filmmaker that I really want to work with, or it's a story that I really want to be a part of and help serve, or there's a character that I feel I can bring something unique to. That's really what it's about. I would go crazy, if I just relied on the same tricks and did the same thing, all the time. It was just be no fun, at all. I really do need to try something different, every time out, and do something that scares me, a little bit.
My method is related to an attempt to do something that might be understood by today's world, or that could at least provide understanding. In other words, doing something I understand and that everyone understands. This natural desire for communication is also found in other domains, like reading and discourse, etc. I also hate repeating myself; it gives me no pleasure whatsoever. Once I've understood something, I need to start off on new ground.
I really do feel like an unremarkable person trying really hard, openly, to do something interesting and to make something of value and pleasure.
I really don't find revivals very interesting because I like new work a lot. I feel like if you're going to pay me, then let me do what I do and let me try to solve some problems. Let me try to make something fly. Why would I do something that everybody has already done the hard work on? But that's me. Tons of people do revivals really well.
I have been a fan of movies from a very young age, and somehow, the magic of that - every single time I hear something or read something that could be made into a wonderful film or something somebody is asking me to be a part of - that connects. It just makes me feel like I'm going to be part of something magical again.
The most rewarding part of my work is the "Aha" moment, the excitement of discovery and enjoyment of understanding something new - the feeling of being on top of a hill and having a clear view. But most of the time, doing mathematics for me is like being on a long hike with no trail and no end in sight. I find discussing mathematics with colleagues of different backgrounds one of the most productive ways of making progress.
The belief when your mother gives you away is that there's something deeply wrong. Mothers don't give babies away. There's something wrong with me, something unlovable, something seriously flawed in me. It's a fundamental thing; it's precognitive. You feel it rather than think it. How could you not?
It's part of the business of really not caring about topping myself because I really don't care what's going to happen. I think just surviving is a major thing. I'd like to write something that my peers, my colleagues, my fellow writers would find a source of respect.
I really like to absorb the project and watch it and work on the music a lot and just get the feel for it until eventually a moment comes where I know I've got it. A lot of it is trial and error. Some days a piece of music doesn't work then other day another piece of music finally says something and works with the picture and suddenly casts a light on all the other stuff you've done - probably because my mind is getting to understand it and the piece is educating me. I always feel like the score is in there already somewhere and I just have to channel it and accent it.
PETA is such an important cause to me. The mistreatment of animals is something that just really gets me. I feel it's really the most important part of what I do. Don't Eat Meat! Don't Wear Fur! I mean, there are so many other options these days.
The other thing is that it's really hard to separate out the harassment from everything we do. When we started creating Tropes, we were hyper-aware of the intense scrutiny, the intense harassment, and the intense pressure to do something meaningful given the attention both positive and negative. That's carried over in terms of making sure that I produce the best work that I can, that's the most accurate, the most sensitive and engaged.
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