A Quote by Octavia Spencer

My job as an artist is to present the material. My job as a woman is to receive from it what I need. — © Octavia Spencer
My job as an artist is to present the material. My job as a woman is to receive from it what I need.
Our society and media have lost touch with the job of the artist. The job of the artist has been subordinated to the job of the record seller.
Crime is a job. Sex is a job. Growing up is a job. School is a job. Going to parties is a job. Religion is a job. Being creative is a job
Get the big view of your job. Think, really think your present job is important. That next promotion depends mostly on how you think toward your present job.
It is ridiculous to take on a man's job just in order to be able to say that 'a woman has done it - yah!' The only decent reason for tackling a job is that it is your job and you want to do it.
Social-enterprise employees earn wages and pay taxes, reducing their recidivism rates and dependence on government assistance. They also receive crucial on-the-job training, job-readiness skills, literacy instruction and, if necessary, the counseling and mental-health services they need to move into the mainstream workforce.
That's the difference between the serious artist and the craftsman--the craftsman can take material and because of his abilities do a professional job of it. The serious artist, like Proust, is like an object caught by a wave and swept to shore. He's obsessed by his material; it's like a venom working in his blood and the art is the antidote.
Quite frankly, I think if a man or a woman likes their American job, wherever they were born, they should be able to keep that job. We need a clear path to citizenship for workers who are already here and a fair and efficient on-ramp for those who want to come here.
Once lay down the rule that the job comes first and you throw that job open to every individual, man or woman, fat or thin, tall or short, ugly or beautiful, who is able to do that job better than the rest of the world.
If you don't have the good fortune to work a lot then you take any job you get offered, whether it's a good job, fun job, a bad job, horrible job, whatever, you just take what you need to take. But I'm lucky in that - at the moment anyway and hopefully forever, but who knows - I get the chance to pick jobs for the kick of it and the fun.
It's never the same relationship. I see my job as filling in the blanks. Whatever it is that the artist lacks in the process of making a record, I'm supposed to fill that in. And sometimes it's a lot of stuff and I have to hector them about working on the material and that sort of thing. Sometimes you have an artist that's really fairly self-sufficient; they just need another ear to offer some objective criticism, but otherwise pretty much know what they're doing. It varies a lot.
Young people need the hands-on training that comes with a summer job. They need to know how to dress for success and nail job interviews. But most of all, they need mentorship, guidance, and inspiration.
It's very hard for an artist to negotiate their fees. My job is to act; my manager's job should be to handle the business side of it.
In Japan, a company worker's position is secure. He is retrained for another job if his present job is eliminated by productivity improvement.
If I had to probably define and characterize my job, and maybe the job of a CEO today in this global world, highly volatile, uncertain, and when you need to transform is to be the catalyst for change. That's probably the definition I would give to my job. I'm the catalyst.
If I'm doing a job, I'll give it 100%, and that job gets my absolute focus, and everything else goes to the side. Then, that job is finished, I'll concentrate on the next job.
I need to go where I'm not comfortable. I think that's the artist's job.
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