A Quote by Ron Livingston
It's got to be weird to sit in an office all day and deal with these creative types without having any idea of what they do or how they do it.
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Trying to be creative, yet having to deal with the day to day - I mean, there is a lot of stuff to deal with. Like sitting at the computer and sending emails.
It's the best deal of, of this whole thing is it turns out I've got this nice home office. And at the end of the day, yeah, I can come home, even if I've got more work to do, I can have dinner with them. I can help them with their homework. I can tuck them in. If I've gotta go back to the office, I can.
The instincts and reaction and having to move - that's what football is. You have to learn how to deal with different adjustments, and know how to react to different types of plays. And do it on the fly.
My object, having a surplus to deal with, is to consider how I can deal with it to the greatest advantage to the consumer - how, without inflicting any injury on Canada, I can secure the most substantial benefit to this country, to the manufacturing, to the commercial, and to the agricultural interests. The real way in which we can benefit the working and manufacturing classes is, unquestionably, by removing the burden that presses on the springs of manufactures and commerce.
I'm not just going to get a deal; I'm going to get the deal. And in my deal I got by signing with No I.D. to Def Jam, I got full creative control, the money was great, the contract was good, and I got to create the album that I wanted.
It is the witness alone that can work without any desire, without any idea of going to heaven, without any idea of blame, without any idea of praise. The witness alone enjoys, and none else.
Having a great deal of opportunity proves nothing. Opportunity without creative action is like a brand new Ferrari without an engine. You possess something valuable, but it won't get you anywhere.
I love to work. It's the idea of having someone else tell you how to make your film or how to sell it - that's the part I can't really deal with. I would rather do 1,000 things that are work than deal with one thing that's a political problem.
'Paycheck,' I thought, was a really, really good idea. I never got an opportunity, unfortunately, to read the novel, but I loved the idea of how to deal with intellectual properties. I just don't know that we necessarily got to the heart of that particular idea. I think it became more of a chase movie than anything else.
As a military child I first learned how to deal with different types of people and how to deal with order.
In order to be creative, you have to know how to prepare to be creative.....A lot of habitually creative people have preparation rituals linked to the setting in which they choose to start their day. By putting themselves into that environment, they begin their creative day.
What sensible people have got to do is not simply repeal the Affordable Care Act without any alternative, but you've got to sit down and say it's OK, what are the problems. How do we address it? How do we move to universal health care? How do we lower prescription drug costs? How do we make sure that people don't have outrageous deductibles? You just don't throw 20 million people off of health insurance. You don't privatize Medicare.
What I love about the creative process, and this may sound naive, but it is this idea that one day there is no idea, and no solution, but the next day there is an idea. I find that incredibly exciting and conceptually actually remarkable.
I got a lot of Ph.D.-types and smart people around me who come into the Oval Office and say, 'Mr. President, here's what's on my mind.' And I listen carefully to their advice. But having gathered the device, I decide, you know, I say, 'This is what we're going to do.'
Radical transparency is critical to having an idea meritocracy because it shows what's actually happening without spin and prevents people from maneuvering politically behind each others' backs. It brings problems and weaknesses to the surface and allows people to see how they are dealt with, so it's great for training people on how to deal with real problems.
We've been lucky. Even as a young, local-level band, we were able to rise out of the local scene without having any debt, without having signed the wrong deal with the wrong manager or the wrong booker or a small label.
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