A Quote by Ray Metzker
A lot of my work is about is about events, but I also think a lot of my work is about fragmentation.... You have to break something down in order to have the parts synthesize.
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I'm about jobs. I'm about the fence. I'm about borders. I'm about a lot of things. I'm about our vets. I'm about strong military. You know, whether you break it down into men or women or anybody else, I mean, I think people want to hear that and I'm much better at it than Hillary Clinton is.
There was something really wonderful about being able to feel confident about doing my first exhibition in China, that people would have no trouble recognising the images and understanding my work. I also have a lot of freedom in the way I use colour, and I think that kind of freedom in colour is also understandable in every culture.
I think decor says a lot about someone's social position, their taste, their sensibility, their work - and also about the aesthetic way I have chosen to tell their story.
Work takes up a lot of my brain space. So when I work, it's one thing. I don't have a lot of time to think about dating.
Honestly, I spend very little time thinking about past events, and I certainly don't have them ranked in any way. I look back and think that I have done a lot of good work over the years, but I am much more excited about what the future holds.
I think if somebody is so set in their ways about what they feel about something - and you get this a lot in academia, of course, and also different sorts of journalism too - you're going to sweep under the carpet the facts that don't suit your thesis. And I think that happens quite a lot in the courtroom, for instance.
The artists always reflect the times, so there's a lot to think about, a lot of unknowns, a lot of things that are describable. This is the closest I've seen to the kind of ambience that made the '60s happen. It's not about the artist having a responsibility to do anything. They have to be artists and express themselves and everything will work out fine.
I want my music to be something that people use in order to access parts of themselves. So in that sense, every piece I write is about all emotions at once, about the lines in between. It's never only about one thing or another. It's emotionally getting at those things that we can't really describe - things for which we don't have labels. So yes, it's about something, and it has a use. It's neither about nothing nor about something concrete - it's about what you bring to it as a listener.
I have a lot of optimism about new doctors because I think it's really clear that it's a lot of hard work and no guarantee of a lot of money.
I think is about confidence. Is about doing the right things. Is about being healthy. Is not about if I want to work or if I don't want to work. Is about if I can work or if I can't work.
A lot of times, my work is looked at very much on the surface. It's very easy to just want to put something in a box - to say, 'Oh, since this work deals with surface desires at times, this is about consumerism.' And of course, the base of the work is... not about economics at all.
It is wonderful to work in an environment with a lot of smart people. It challenges you to think and work on a different level. If you play with better players, you learn a lot: perspectives, intellectual arguments, new ways of thinking about things.
It would probably help my career if I lived in L.A., but I think it would be all-consuming. New York has its own little rat race going on, too. But it's also really diverse and has a lot of people doing different kinds of jobs. In L.A., work would be the only thing I'd think about, and sometimes, I need a break from that.
A lot of times I don't really work with people based on a look. I work with people I know, and that I think would bring something to the music. Ultimately I think that's the best way to go about it.
Actors are not a great breed of people, I don't think. I count myself as something of an exception. I grew up in the theater, and my values were about the work, and not being a star or anything like that. I'm not spoiled in that way, and if I fight for something, it's about the work, not about how big my trailer is.
I've learned a lot during my years on the 3rd Circuit, particularly, I think, about the way in which a judge should go about the work of judging. I've learned by doing, by sitting on all of these cases. And I think I've also learned from the examples of some really remarkable colleagues.
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