A Quote by Molly Sims
When you work with the same people for 10 years, they become family. Now when I see them - it might not be for nine months - but when I see them, it's great.
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I always think about taking 10 random people off the street and trying to pair them. Probably a lot of them are not going to work out, but randomly one might. That's basically what they're doing on 'The Bachelorette.' Here's 25 guys, see if you like one of them and it might work out.
Steve Jobs was not an engineer: He was a brilliant individual with this ability to see around corners, to see things that other people couldn't see. I've learned over the years in the Apple that there are some really talented people who can take the same evidence, the same facts, and look at them and see them in a way that interprets those facts entirely different than most people do.
Sometimes you spend nine months, 10 months, a year writing a piece that you will hear two years later or something like that, and you never see anybody. It's a very different sort of metabolic.
Better far off to leave half the ruins and nine-tenths of the churches unseen and to see well the rest; to see them not once, but again and often again; to watch them, to learn them, to live with them, to love them, till they have become a part of life and life's recollections.
A photograph never grows old. You and I change, people change all through the months and years but a photograph always remains the same. How nice to look at a photograph of mother or father taken many years ago. You see them as you remember them. But as people live on, they change completely. That is why I think a photograph can be kind.
I will see 100 or 200 and I will take my time with them and I audition them for the two main roles. If I like what I see, but they're not exactly right for the role, I'll think well I have this other role that might work for them. Sometimes I will write a role for them because I want to work with them because they're so good.
Politicians often like to suggest that their policies come about through objective thinking, but if you look at British fascists, for example, what you see - what I see - is a group of people coming to the decisions they came to because something happened to them when they were nine-years-old, or because of some deep prejudice that formed in them subsequent to that.
Some people work their entire lives to become a professional fighter and see certain guys with exposure or just a name, hop into the professional ranks. It can rub people the wrong way and have them very doubtful of your skills because they see first-hand the hard work and how many years it takes to master this.
To see talented people in roles that others might not see them in, to see how they might fit in the puzzle of the cast, has always been something that I've been good at. I think that if you look at the successes of my films and start to peel them back, there's usually a really smart casting decision that has gone into that success.
I don't see what the alternative to risk management is. If it's just getting rid of the models and instead using the smart people who can figure it out? How do you train them? What do you teach them? Do you just put them in a cockpit and let them stumble for 10 years of their life and then after that they're good at it?
I still use the pronoun she for my publicity materials, and for mainstream media stuff, for two reasons: the first is that I do a lot of work in public schools, and I want those young women and girls to see every kind of she there can be. I want them to see my biceps and my shorn hair and shirt and tie and for some of them to see me as a possibilityI want them to see me living outside of the boxes, because they might be asphyxiating in their own box and need to see there is air out here for them to breathe, that all they have to do is lift the lid a little.
I hope that if the people who read my work encounter people in the real world who are like the characters that I write about, that maybe that might make them feel empathy for those people. I know it sounds idealistic in a way, but I do hope that my work maybe changes some minds, and that my work makes readers see people as human that maybe before they read my work they might not have seen as humans, and those people include me and my family and my kids, people in my community.
The hardest thing is at the end you have to say bye to all these people who you have worked with for so many months. It was really sad not to see them anymore. But you have the parties that you go to and you get to see them, like the premieres and the screenings.
It can be 10 people or thousands of people: I want them to see something special. I want them to say, 'I saw the best in the world at something,' and maybe that will inspire them to go do something in their life with the same vigor.
It was hard saying goodbye to the 'iCarly' family just because we have become such a family, but I do get to see them all the time, and I stay in touch with them.
As far as my opinion on galleries, I think they are a great thing. I see them as another outlet. I'm sure by now you've figured out that I do my work for everybody to see. That's the whole point.
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