Quotes About Work

I like to receive money for my work. But I can pass that up this time. I like to have people know my work is done by me. But I can pass that up. I like to have tenants made happy by my work. But that doesn't matter too much. The only thing that matters, my goal, my reward, my beginning, my end is the work itself. My work done my way. Peter, there's nothing in the world that you can offer me, except this. Offer me this and you can have anything I've got to give. My work done my way. A private, personal, selfish, egotistical motivation. That's the only way I function. That's all I am.

What work I have done I have done because it has been play. If it had been work I shouldn't have done it. . . . The work that is really a man's own work is play and not work at all. . . . When we talk about the great workers of the world we really mean the great players of the world.

At least 90 percent of my work is in situ. For me, it's not only to work with the architecture and space, it's also to work with the time, to work with the people who are involved with the place. It's also dealing with history. It takes all this into account. Other works can be placed in different environments, but they always follow a rule. This is usually not the case for work in situ, because even if they are transported, they remain there forever or they are destroyed.

The most important thing is that, when you work with somebody, you build a rapport with that person. They have a certain trust in you. You don't have to explain that much. It's very hard when you photograph someone who's a fresh face and then you don't work with them again for six months. All these people I work with over and over again have qualities that I love. There's something very free about them or there are some slight imperfections about them. I think the more you work with someone, the pictures get better and better.

Work is love made visible. And if you cannot work with love but only with distaste, it is better that you should leave your work and sit at the gate of the temple and take alms of those who work with joy. For if you bake bread with indifference, you bake a bitter bread that feeds but half man's hunger. And if you grudge the crushing of the grapes, your grudge distils a poison in the wine. And if you sing though as angels, and love not the singing, you muffle man's ears to the voices of the day and the voices of the night.

It has long been my personal view that the separation of practical and theoretical work is artificial and injurious. Much of the practical work done in computing, both in software and in hardware design, is unsound and clumsy because the people who do it have not any clear understanding of the fundamental design principles of their work. Most of the abstract mathematical and theoretical work is sterile because it has no point of contact with real computing.

Joy of life... depends upon a certain spontaneity in regard to sex. Where sex is repressed, only work remains, and a gospel of work for work's sake never produced any work worth doing.

Every film is hard work, and a few lucky people do get Oscars for what they do, and it's recognition for all that hard work on a certain level. If you didn't do the hard work, you wouldn't be standing there. On the other hand, people do a lot of hard work and don't get Oscars, so it's a mixture of glory and injustice at the same time.

A manager's most important work is helping the people doing the work. Give them a goal and let them work. Remove any impediments that get in their way. Do anything that make them more effective or productive. Then the organization can capitalize on the fruits of their work.

To create a work of art, great or small, is work, hard work, and work requires discipline and order.

Work, look for peace and calm in work: You will find it nowhere else. Pleasures flit by -- they are only for yourself; work leaves a mark of long-lasting joy, work is for others.

Every film you work on is different, and that's part of what it's like for anybody who works on a film, is to learn how to work with others. Learn from top to bottom. Actors have to learn how to work with the director and the director has to learn how to work with actors, and that's not just those two departments.

Using my own hand as a base material, I considered it a canvas upon which I stitched into the top layer of skin using thread to create the appearance of an incredibly work worn hand. By using the technique of embroidery, which is traditionally employed to represent femininity and applying it to the expression of its opposite, I hope to challenge the pre-conceived notion that 'women's work' is light and easy. Aiming to represent the effects of hard work arising from employment in low paid 'ancillary' jobs, such as cleaning, caring and catering, all traditionally considered to be 'women's work'.

I would never want to take away the option of sex work from someone, but I would want to create more options so that everyone can make the decision whether they want to do sex work or they don't want to do sex work, and that people who do sex work can do it safely.

Work done for the Self gives no bondage. Neither desire pleasure nor fear pain from work. It is the mind and body that work, not I. Tell yourself this unceasingly and realise it. Try not to know that you work.

We only work… the most I ever work is three days a week. Very rare that I will work four. If I’'m involved in a scenario where they need me to be in it, I don'’t mind. They always work around my children’s schedule, their sports, and stuff like that. That’s been very important to me.

Yeah, it's odd when you look back at your own work. Some filmmakers don't look back at their work at all. I look at my work a lot, actually. I feel like I learned something while looking at stuff I've done in terms of what I'm going to do in the future, mistakes I've made and things at work or what have you.

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.

A great deal of the joy of life consists in doing perfectly, or at least to the best of one's ability, everything which one attempts to do. There is a sense of satisfaction, a pride in surveying such a work, a work which is rounded, full, exact, complete in all its parts-which the superficial man, who leaves his work in a slovenly, slipshod, half-finished condition can never know. It is this conscientious completeness which turns work into art. The smallest thing, well done, becomes artistic.

Value investing doesn't always work. The market doesn't always agree with you. Over time, value is roughly the way the market prices stocks, but over the short term, which sometimes can be as long as two or three years, there are periods when it doesn't work. And that is a very good thing. The fact that our value approach doesn't work over periods of time is precisely the reason why it continues to work over the long term.

No man is born into the world whose work is not born with him. There is always work, and tools to work with, for those who will, and blessed are the horny hands of toil. The busy world shoves angrily aside the man who stands with arms akimbo until occasion tells him what to do; and he who waits to have his task marked out shall die and leave his errand unfulfilled.

Take courage and work on. Patience and steady work - this is the only way. Go on; remember - patience and purity and courage and steady work. . . . So long as you are pure, and true to your principles, you will never fail.

Some guys can do digital things where they make some tricks work, but I work on paper and I work with washes. You can't just change things afterwards. You have to get it right on the page.

The artist has the power to signoff the work by deconstructing the work itself: I've finished this work now and I'll sign it and relegate the painting to simply something that services my signature. The painting becomes the colorful backdrop of the signature.

People often ask me if I'm working on a book. That's not how I feel. I feel like I work in a book. It's like putting myself under a spell. And this spell, if you will, is so real to me that if I have to leave my work for a few days, I have to work myself back into the spell when I come back. It's almost like hypnosis.

As a mother, I work hard every day and I expect that work to be recognized and appreciated. Because I work for and with human beings, sometimes they're grateful and sometimes they aren't.

I have this internal battle between, I need to work, I need to work, I need to work and I need to be home with my kids. And the kids win.

The Lord has made available in our day remarkable resources that enable you to learn about and love this work that is sparked by the Spirit of ElijahIt is no coincidence that FamilySearch and other tools have come forth at a time when young people are so familiar with a wide range of information and communication technologies. Your fingers have been trained to text and tweet to accelerate and advance the work of the Lord-not just to communicate quickly with your friends. The skills and aptitude evident among many young people today are a preparation to contribute to the work of salvation.

But who does not see that the work goes beyond the one who created it? It marches before him and he will never again be able to catch up with it, it soon leaves his orbit, it will soon belong to another, since he, more quickly than his work, changes and becomes deformed, since before his work dies, he dies.

The work is the work. The work is not me. I like the anonymity that directors can have about their films. Even though it's my voice, I'm a storyteller.

Puzzles are great because they're fun. But really we are drawn to puzzles because they can be solved. We love the idea of being able to put a puzzle together and it being complete: you do it perfectly, step away, and you've completed the job. There's a deep satisfaction from that, and I think we wish for the ability to do that with everything. But emotions just don't work that way, people don't work that way, relationships don't work that way.

We think of prayer as a preparation for work, or a calm after having done work, whereas prayer is the essential work.

I don't feel like I possess a particular political intelligence, and when I read work that does, I feel like somebody else is going to have the right political thing to say. As a citizen, I feel an enormous need to respond, and immediately post-election, I felt like, What is my work worth? Should I quit what I'm doing and go work on the 2018 election now? How is what I'm putting into the world meaningful?

I'd work eighteen-hour stretches and fall asleep in my clothes. Then I'd wake up in the middle of the night, brew a pot of tea, and start work again. I was tired, but work had become pure enjoyment.

I think that no matter what you do, whether you rodeo, whether you work in an office, you work in the oilfield or you play music for a living, eventually if you do enough of it, the devil in the back of your head tries to turn it into work. You have to find new ways to make it new and make it exciting to keep that drive there.

It's great to be recognized for work, and the work is great, but once you have the awards, it becomes less important. It just gives you the ability to do better work, in my opinion.

I put a lot of time and thought into my work, which I see as a sort of respect for both the work and the audience, and I have always been very concerned that the materiality of the work reflects that.

I've been working in theater, really, since about 1965. I started working with the Mabou Mines about then, and in a way I've always worked in the theater, but it's never been a main part of my work. And it wasn't until Einstein that I kind of shifted into high gear with theater, working with Bob, with Bob Wilson. And since then I find it a very attractive form to work in. It's just an extension of my work.

When I work there are two distinct phases: the phase of pushing the work along, getting something to happen, where all the input comes from me, and phase two, where things start to combine in a way that wasn't expected or predicted by what I supplied. Once phase two begins everything is okay, because then the work starts to dictate its own terms. It starts to get an identity which demands certain future moves. But during the first phase you often find that you come to a full stop.

I spent a month in India and where I learnt an important word for me, for everything that had come before and after, and the was the word 'seva' - the work you do without wanting reward, simply for the work itself, for the spiritual, for the practice and the experience it gives you by doing that work. I began to realise it was something I was searching for all my life, that I was doing theatre not for myself but for something for a search, for a seeking for something that is behind that, to find a truth somewhere about us.

Too much of our work amounts to the drudgery of arranging means toward ends, mechanically placing the right foot in front of the left and the left in front of the right, moving down narrow corridors toward narrow goals. Play widens the halls. Work will always be with us, and many works are worthy. But the worthiest works of all often reflect an artful creativity that looks more like play than work.

People know that billions of pounds are wasted. Billions of pounds never get near the families that need it. It is an absolute outrage that hard-working people go out to work every day, get up early, come back late, don't see enough of their families in order to pay taxes to fund vast bureaucracies that are inefficient in order to fund a welfare system which allows too many people to sit for the whole of their lives on out-of-work benefits without going out to look for work.

I feel it's important, in presenting a work of art, that everything ends up serving a purpose. There are all these variables involved - large and small, obvious and ephemeral - and each has the potential to become an active, considered part of the work. So my goal is simply to approach each step as an opportunity to produce work that carries visual weight but retains this sense of openness and possibility.

I'm a character actress, plain and simple... Who can worry about a career? Have a life. Movie stars have careers - actors work, and then they don't work, and then they work again.

I think I'm one of those people that needed to be seen by someone else to see myself. But then on the other hand, the way I do my work, I always try to only completely focus on my work, so when I do my work I'm only interested in my character. So I don't have an idea of what it means for my career. So this is why I don't feel like I need to be discovered, because I feel like even without being discovered, I will be fine.

All I can do is try to do the best work I can. I need to work, I like to work... although I complain about it, but I do like it - and I just need to make the best film I can.

I get very surprised and shocked because there is so much prejudice against me as a celebrity, instead of them looking at the quality of my work. Just look at the work. Forget about who I am. But there is so much perception in the art business that blurs that insight. The work speaks, so just look and then judge from there.

If you work for a man, in Heavens name work for him! If he pays you wages that supply your bread and butter, work for him, stand by him, and stand by the institution he represents.