A Quote by Nicolas Cage
I was thinking about being more global in my work, which means trying more foreign countries and working with foreign filmmakers, hoping they would give me a new take on my work, a new point of view, reinvent me in some way.
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Traveling and being in foreign cultures has always been really stimulating for me, partly because, when I'm living abroad, everything is new and like a puzzle to work out, by virtue of it being a foreign culture.
The more foreign to me, to my existence, to your core existence, the more foreign the foreign language, it's really moving to me to think, to get to experience my own story crossing those boundaries. To have that experience that I so cherished as a reader. I can't believe this. To me, it's really nice because that would be a thing where I'm like, "There may be lots of Jews in my work. I'm not writing stories for Jews. I'm telling stories about people, and Jews are people, too."
As soon as I start reading, drawing comes to me more easily. I find I work in my sketchbooks more. But if I'm working on a new show, my reading completely stops except when I'm on a plane. I take a stack of New Yorkers with me. I feel awful about those stacks of New Yorkers.
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.
The more new thinking I did, the more successful it seemed to me that I could become. When magazines are really working, and when websites are really working, they're doing new things all the time, and discovering new writers to do stories, different ways to package stories. I was always very aware that I was very lucky to be doing what I was doing, because I would get up in the morning, and go to work, and the days would fly by.
But foreign should not be defined in geographical terms. Then it would have no meaning except territorial or tribal patriotism. To me that alone is foreign which is foreign to truth, foreign to Atman.
Hillary Clinton is pretty much what we would call a foreign-policy realist, someone who thinks the purpose of American foreign policy should be to adjust the foreign policies of other countries, work closely with traditional allies in Europe and Asia towards that end.
I didn't understand the culture and what Starbucks was really about. It wasn't a coffee shop. It was really a way of life... we suffer from thinking that since we have it in New York, or it won't work in New York, that it won't work some other place. That's a discipline we keep trying to improve.
Art is not made only one way, art is a point of view? Rembrandt in our days would be Rembrandt again, because the work of the master is his self. But in order to be Rembrandt in ourdayshe would have used new ways that would give a new culture.
We think the administration can give us a lot of regulatory flexibility which will bring more insurers in the marketplace, which means more competition, more choice which drives down costs, so that discretion can work in a good way or it could work in a bad way.
I'm working on new techniques. I'm trying to find a way to make fresco that can be detached from a wall, and I'm trying to find new people who can help me work on a very large scale in bronze.
I'll say this, I'm no stranger to working with a foreign cast, foreign directors, that sort of thing. I love it, because I think that when you have people from different countries, it sort of brings everyone together, it's more of a worldly film.
From the point of view of basic physics, the most interesting phenomena are, of course, in the new places, the places where the rules do not work - not the places where they do work! That is the way in which we discover new rules.
I know I am a human being. I can give myself to one year for a project. That is why I say I'm primitive in the way I work, especially compared to most artists. I came to New York in 1974, knowing that it is the art center of the world. But I didn't go to find people for my work. I do the work, and the people come to me, and I learn from them. That has always been my approach - to do the job first and then to respond to it after I finish and learn what people think about it. That's how I develop, and I'm more of an outsider in that way.
My films are very rooted in specific people's point of view. Some film-makers give a more global point of view, like God looking down at the characters.
If the first plan which you adopt does not work successfully, replace it with a new plan; if this new plan fails to work, replace it in turn with still another, and so on, until you find a plan which does work. Right here is the point at which the majority of men meet with failure, because of their lack of persistence in creating new plans to take the place of those which fail.
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