A Quote by Temple Grandin

My life is basically my work. — © Temple Grandin
My life is basically my work.
When you work on a story like the Weinstein investigation, every other non-critical part of your life disappears. For months and months and months, my life basically consisted of my work and my kids, my work and my kids.
What do I do when I go home? Work. That's basically my social life. I'm married to work.
I didn't have a life. Basically, for 40 years it was my work and my nose was to the grindstone the whole time.
If our 'message' is anything, it's a positive approach to life. That life is basically good. People are basically good.
I'm putting out music that I love, and they're basically just stories of my life and how I try and teach myself to think about things. They're kind of like notes to self, basically.
I work, and then whenever I have any other time, I'm with my daughter, and then I go to sleep. I think you basically have to abandon the dreams of having any other adult activities in your life. You have to go to sleep whenever your child goes to sleep. That's basically how we're doing it.
I travel all over the United States basically in evangelism, speaking in churches, speaking in prisons, speaking in rehab centers wherever I can basically sharing my story of redemption and the turnaround in my life.
There's always a pattern in order to make a thing, but the starting point must be something I've never seen before. It's not two-dimensional, but it's like a sample. I work with patterns like a sculptor. I try to get [the team] not to work on a body, [but] to work on a free space, on a table. The work is basically on flat surfaces.
I don't believe in work-life balance. I think it's more about work-life integration because, increasingly, so much time of ours is spent doing work, so I've always wanted to dedicate my work life to having a social impact.
I think this, I think basically I'm not interested in people following my work or making work like my work.
Most people are basically a victim of the circumstances of their life. They have things like 9/11, they have terrorism threats, they have new war threats, they have economy problems, and they think, 'What can I do? I'm basically a victim.'
For me, storytelling is what I love to do and that's my life's work. Football is not my life's work. It's just part of my life's journey, but creativity is my actual life's work.
A whole lot of us go through life assuming that we are basically right, basically all the time, about basically everything: about our political and intellectual convictions, our religious and moral beliefs, our assessments of other people, our memories, our grasp of facts. As absurd as it sounds when we stop to think about it, our steady state seems to be one of unconsciously assuming that we are very close to omniscient.
The comics work is very slow, and it basically involves working for sometimes years in isolation and not knowing how the work is going to be received.
I feel like if we can use the combination of basically data-driven hunches and bet on really first-class talent to deliver the shows, that I think we could do as well as the networks do, who basically have a 75 to 80 percent failure rate for new shows anyway - even after all that development and pilot work.
The way we work at Pixar is we write the script, but then we quickly move on into story reel, which is basically like a comic-book version of the film. And then we do our own dialogue and music and sound effects, all in an effort to be able to basically sit in the theater and watch the movie before we shoot it, essentially.
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