A Quote by Peter Maurer

Very often, development agencies or even some of the humanitarian actors choose the... more comfortable type of work, where it is safe, while the more important work has to be done where it is profoundly unsafe.
Since we've done that type of work [ voiceover], we know how isolating it can be, and we wanted to make the actors more comfortable.
Let's think about Mexican streets: they're unsafe because of violence, so people stay at home. Does that make streets more or less safe? Less safe! So streets become more desolate and unsafe, so we stay home more - which makes streets even more desolate and unsafe, and we stay home even more.
We need to continue to modernise current humanitarian work while at the same time drive a more systemic shift in how we envision the operation and financing of humanitarian solutions.
The more you work with anyone, the more comfortable and safe you feel. The more you have an understanding.
I've learned more and more on each show that I've done. I've been blessed and I've gotten to work with some very talented actors - James Gandolfini, Treat Williams. I've kind of always asked for advice and tried to take in as much as I could whenever working with them.
We honor life when we work. The type of work is not important: the fact of work is. All work feeds the soul if it is honest and done to the best of our abilities and if it brings joy to others.
I think it's very important to remember that so much of the work that gets done between countries is not done at the level of presidents, but is done within various agencies, whether it's law enforcement or economic ministries. And when they establish relationships and systems of communications and shared projects and shared visions, those structures continue even after any particular president is gone. It builds trust and understanding between countries that are critically important.
Originally, I wanted to do humanitarian work. I actually feel that getting into acting, which fate has led me to, is my window and path into humanitarian work. I always said I want to do something important. And I feel this work is what's helping me get there.
Making money has always been pretty easy for me, but today I don't need any more money. I still work, because money is important, but my work is more important than the money, now. And that's a very big difference. I just work because I enjoy my work.
I know that actors and actresses have a great reputation for being very, very selfish, and in some cases, that's very true. But in the theater I find it doesn't help you to be selfish. You sort of have to be selfless in the theater, and the more selfless you are - that doesn't mean don't take care of yourself - but the more you sort of surrender to the work, I find, the better the work is. That's just my experience.
I think context, location matters a lot. Because location obviously in my situation, it's the space in which the work is going to be exhibited. And since some of the work I do is created onsite, it requires a different type of space, versus the smaller drawings or more subject-oriented work. So that the context becomes important.
There are some very similar moments in the early work where the focus was on drawing, abstraction and fragmentation. Then it moved to the development of ideas. Lately it has become what architecture should be, which is more fluid organization. There has not been so much 'a change' but 'a development'.
I've often said there's two kinds of actors. There's a more gregarious type and the shy type.
A lot of actors want to do a solo release, but not many people go and watch it. The more you work with different actors and producers, the more your work reaches people.
I've learned over the years that geography is not that important, except that I seem to work better in the country than the city. I get more done. There's just less happening around me, and I have more time and concentration to work on music.
I think a good life-work balance is important, and that's even more important in some cases on the space station.
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