A Quote by Margaret Brennan
CNBC really did dominate. Could I have stayed there and continued doing what I was doing? Yes. I had been there for seven years and I was looking for an opportunity to help me grow in immediate terms.
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The fact that I had spent so many years doing media criticism and thinking really seriously about theme and structure did definitely help. Doing that for several years indirectly built a lot of tools that I would end up using when writing my own fiction.
What are you doing to magnify and grow your business? What are you doing for yourself? You have to self-motivate. I had to learn a million things on Google until I was able to meet people who I could partner with for help.
I got fascinated with all of this work in terms of spirituality, philosophy, behavioral science when I was around 18 years old. I've been doing this for 14 years, and I've been doing it online for three years.
For years, people have been trying to talk to me about doing a show, and I wouldn't do one because I'm a serious business guy. I'm not going to do a stupid show. So, the opportunity came up with CNBC, and we started talking. It became a real business show. It's educational, people watch it, and it's great for small business.
I wondered where the person was who had taken my place, who wanted to know what news people had been told. I'm always looking for the person who replaces me, who thinks the things I do, who fills in for me when I'm not there. I know there is someone younger than me doing what I did and someone older doing what I will do, and someone my age being just like me.
Well I’ve been doing it for about twenty years, I did films when I was a little kid, when I was about six or seven, I was in films and I had this really high voice, I did a series called Dinobabies, that was my first one. And then after that I did Madeline, yeah so it just kind of happened and then never went away. Then everyone said your voice is going to change and you’ll be out... No, no, still on helium.
I loved doing 'Pennies from Heaven.' Because you have to understand that I'd been doing comedy for 15 to 20 years, and suddenly along came the opportunity to do this beautiful film. It was so emotional to me. I loved it. I don't think it was a good career move, but I have no regrets about doing it.
I was sent to Russia in 1994 by the Clinton administration to meddle in Russian elections and stayed seven years doing it.
When I was in high school, my parents had this power over me - if I ever lied or got caught doing something that I shouldn't be doing, then I would no longer be able to go to LA and continue to pursue the acting thing. So that was this sort of looming thing they could had over me that just sort of really kept me in check throughout those formative years where you would typically be lying and doing bad stuff.
In the beggining of I was getting all this feedback from people saying, "What are you doing? What is this?" But I thought to myself, "This is a great opportunity. This is a perfect bridge to help me achieve my dream and my vision of polo becoming a bigger, more visible sport." So I used the money that I was getting from modeling to buy better horses and to become a better player. So I really believed that if I could elevate my game and show that I was serious about it, then the work I was doing with Ralph Lauren would become that bridge that I was looking for to take the sport further.
Yes, Eden was beautiful- and if I had to squeeze through corporeal keyholes to crash it- so be it. (Hasn’t it bothered you, this part of the story, my being there, I mean? What was I doing there? ‘Presume not the ways of God to scan,’ you’ve been told in umpteen variations, ‘the proper study of Mankind is Man.’ Maybe so, but what, excuse me, was the Devil doing in Eden?) I took the forms of animals. I found I could. (That’s generally my reason for doing something, by the way, because I find I can.)
I realized that what I was looking for was doing collaborations with other people - people who can play a ballad, rock, jazz. I was looking for more co-op type things than what I had been doing, which had been completely my own trip.
A very elementary exercise in psychology, not to be dignified by the name of psycho-analysis, showed me, on looking at my notebook, that the sketch of the angry professor had been made in anger. Anger had snatched my pencil while I dreamt. But what was anger doing there? Interest, confusion, amusement, boredom--all these emotions I could trace and name as they succeeded each other throughout the morning. Had anger, the black snake, been lurking among them? Yes, said the sketch, anger had.
I have to confess that I'm in a constant state of evolution in terms of the way I feel about it. When I was doing early pieces, I wasn't exactly in love with the idea of building the stuff. I could do it because I had the skills, but I really did it because I couldn't find anyone else to build it for me.
I love what I'm doing, I really do. This has been a process which has taken me seven years to accomplish. Some bad years, then spending a year with Spurs U18s last year trying to cut my teeth.
When I first got to L.A., I was stretching $20 a week, waiting tables, and I did that for about six months. I didn't mind it at all, I was really happy for that experience, but it made me really get aggressive about what I want. I've been doing this since I was eight, and never considered doing anything else, so I really had to kick it into gear.
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