A Quote by Sheena Iyengar
So it was constantly going back and forth between these two cultures that kept raising the question, well, how important is personal freedom? And I think that has always been of interest to me.
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I think I was always informally thinking about choice from when I was a very young child because I was born to Sikh immigrant parents, so I was constantly going back and forth between a Sikh household and an American outside world, so I was going back and forth between a very traditional Sikh home in which you had to follow the Five K's.
The state of love is this constant flux back and forth between who's saving and who's rescuing, who's wanting and not wanting, who's needing and who isn't. It's always going back and forth between two people who are actually attached.
I think my work comes out of both an intense desire for connection and what it means to feel isolated. There's always going to be a kind of tidal movement back and forth between the two.
In China, your freedom is always limited, but this limitation applies to almost everyone. If someone does injustice to you, though, you have to find a way to avenge yourself - even by illegal measures. In a sense, injustice is more personal. This idea has always been in Chinese history. I think we read about freedom of speech, or lack of freedom of speech, in China so often. But I don't think people here in America think about how justice, or the idea of justice, is so important in a Chinese setting. It's probably more important than freedom of speech in the Chinese mindset at this moment.
I think you have to keep going. Otherwise, you know these fellas that say, "Boy I can't wait to retire. Boy, I'm going to be 65 years old, and I'm retiring and I'm quitting and that's it." Well, two weeks later they're saying to themselves, "What the hell am I gonna do?" And first thing you know they find themselves in a wheelchair or in a rocking chair going back and forth, back and forth, and that's the end of it. And suddenly you're dead.
Well, there's one guy, when he runs the ball his head's really, really still - doesn't move whatsoever but then when it's a pass he's always, like how he's looking is like his head is almost going back and forth and back and forth because he needs to know who to block.
I think that every piece has its challenges. I love going back and forth between one and the other. I'll always pick a comedy over a drama.
I think the terminology I would use is 'a continuous process of reflection'. I've always thought of only two questions that have mattered to me personally. One is what is really needed in the world and the second is what's really important to me and how these two intersect. It's always been a reflective process - spiraling around these two poles.
I think going back to the early days of the show [Suits], even back to the pilot, we've always used movie references. It's always just been intertwined in the life of the show, and that is born out of my - everything to me reminds me of a movie that I've seen, so I'm constantly in my life referencing those things.
Like so many other young South Asians in America, I am the product of two cultures whose conflicting values pull at me with equal urgency. Never have I felt as torn between the two as I do about the question of marriage.
For me, it's good fortune to be between two cultures. Growing up in Germany taught me a lot. I am a world citizen. Today I can adapt well no matter where I am. Even when it's not always easy.
I was always going back and forth between Singapore and the U.K.
One of the things that personally kept me in music was that it has always been my passion,my vision and change. No matter how far I may think I can go without it, it always tend to slap me right back in the face! So why not do what naturally fills your soul. Music completes me.
When you're younger you don't care so much, but as you get older you have a family and stuff like that. But I've always kept my foot in theatre and I've kept my foot in independent film, so I'm really happy going back and forth. So, if I can't find the meaty roles in studio films, then I'll go back and dig up a little independent where I can flex my muscles a little bit.
So we [with Kate DiCamillo] would act them out, we would toss ideas back and forth, we would laugh, we would argue. Sometimes it went really well, sometimes it was such a pain in the ass. Our other rule was that we wouldn't work on it at all when we weren't in the other's presence. It was really hard not to do that. We'd start going on email back and forth, 'What do you think about this, what do you think about that?' But, no, no, no, it had to be live. So we forced ourselves not to look at it except during those two-hour stretches when we were actually with each other.
I got the call to play Tony Manero in 'Saturday Night Fever' in Madrid, a role I'd always wanted, as it's such a well-constructed show, and my background is in musical theatre. I'd been travelling back and forth between London and Spain for auditions and had been borrowing money from friends to do it.
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