Quotes About Work

I love to work, and to make all kinds of work. But if I work on a fashion story then I work for somebody. If I work for me, for an art project, then I'm not that nervous. It doesn't matter when the photo is done. And if I work on a fashion shoot, then I have access to all these things that I can use later for my art - a still life here or there. I can do all of this while the model is changing.

Her work, I really think her work is finding what her real work is and doing it, her work, her own work, her being human, her being in the world.

Hudson Taylor said, "The Lord's work done in the Lord's way will never fail to have the Lord's provision." ...The Lord's work done in human energy is not the Lord's work any longer. It is something, but it is not the Lord's work.

If you press-mold a pot or if you slab-build a pot, the work has got to take much, much, much longer than if you work on the wheel. And I to this day have the ideal that I want my work to be not too expensive, so that if people buy it and break it, it's not going to be the end of the world. I'm not interested in having things in museums, although some of our work has ended up there, but that's not what I'm striving for.

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.

The only way to win is to work, work, work, work, and hope to have a few insights

Work doesn't have to be great in order to dignify it as work. Work just is. It's quite value-neutral. The issue is about what kinds of power and control you have at work as a human being. That's the commonality. It's not necessarily what the task is.

Are you not compelled to work for an employer? Your need compels you just as the highwayman’s gun. You must live … You can’t work for yourself … The factories, machinery, and tools belong to the employing class, so you must hire yourself out to that class in order to work and live. Whatever you work at, whoever your employer may be, it always comes to the same: you must workfor him. You can’t help yourself. You are compelled.

The truth is, an actor's performance is the result of work by a lot more people than just the actor. When you see that character portrayed up on screen, there is the work certainly of the actor, but there's the work of the editor, there's the work of what the camera was doing. What the music was doing, all of the above.

The way to win is to work, work, work, work and hope to have a few insights And you're probably not going to be smart enough to find thousands in a lifetime. And when you get a few, you really load up. It's just that simple.

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.

Work, work, work, but what mark do we leave, what point do we make? People who are too beholden to work become like erasers: as things move forward, they leave in their wake no trace of themselves.

Step by step, you make your way forward. That’s why practices such as daily writing exercises or keeping a daily blog can be so helpful. You see yourself do the work, which shows you that you can do the work. Progress is reassuring and inspiring; panic and then despair set in when you find yourself getting nothing done day after day. One of the painful ironies of work life is that the anxiety of procrastination often makes people even less likely to buckle down in the future.

My mother, she's the one who's gifted with language. She can speak Japanese, of course, Tagalog, which is a Filipino dialect, Spanish as well as English. And I speak a little bit Japanese because I've had the opportunity to work alongside Japanese people. And a little bit of German, a little bit of Portuguese because of work. A little bit of French because of work. But then, if you asked me to carry-on an everyday conversation, I would fail miserably.

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.

Usually, when you're talking about work with other writers it's because something seriously bad is going on with your work and you've absolutely thrown out a lifeline and you're hoping that someone will help you with something. Either there's some bad feeling you have about the work, or sometimes it's not specific - just kind of solidarity.

The rich does not work for money, but money work for them...., While the poor work for money.Illiteracy, both in word and numbers, is the foundation of financial struggle....,Wealth is a person's ability to survive so many number of days forward... or if i stopped working today, how could i survive?...,Wealth is the measure of cash flow from to asset column compared with the expense column.

Each one of us has some goal we want to reach, and we must work toward that goal one step at a time. You can’t reach toward that goal and expect it on the first try. All your small steps will bring you just a little closer. You must continue to work toward this goal. You may take a few steps back or be at a standstill, but you will be learning from each step. Through hard work, self-confidence and motivation, you will find ways to move ahead. You alone can help yourself to move ahead in life and gain personal satisfaction. You only get out of life what you put into it.

Women work overtime, do double triple duty, juggle ten balls at once -- children, careers, husbands, schoolwork, housework, church work, and more work -- and when one of the balls drops, we think something is wrong with us.

Unless this love is among us, we can kill ourselves with work and it will only be work, not love. Work without love is slavery.

There is a tendency in my work toward minimalism, in terms of stripping away the unnecessary. I am seeking a tightly ordered gestalt, usually. I've always felt a strong affinity towards Mondrian's work. I understand the importance of those subtle planar and linear modulations he made in the course of building up the incredible visual tension in his work.

Anybody who tells you that being married and having kids is a walk in the park - it's a beautiful thing. It's the best thing I've ever done in my life - but it's definitely work. You have to work at it like you do anything else you care about in life. It takes commitment and it takes work, and that's all part of it, but in the end there's nothing more worthwhile than working on your family. It's just the best thing in the world.

As the workplace becomes more specialized, from offices to medical centers to factories, teams of people must accomplish their work by collaborating with each other. In my work in filmmaking, we need talented individuals with technical skills, but their abilities to communicate and work with others are just as valuable.

I'm usually the last to see my influence in other people's work. People give me stuff and say "Oh look, this guy's ripping you off," and I'm like "What do you mean?" Often I see the people that I've ripped off filtered into my own work. In other people's work, I can only see specific, tiny little instances of inflections stolen from another artist.

Now there's always exceptions to that and the reason is if the film doesn't really work, whereas before you could rely on a decent amount of DVD sales to prop up the revenue to ensure that you got out in a decent manner, now if the film doesn't work, the film doesn't work and there's none of that DVD revenue to fall back on and you can lose a huge, huge sum of money on a big budget movie.

You have to work from one point to go to another. So I admire work ethic, I think it should be reinforced through our neighborhoods, that everybody should work hard, practice makes perfect, you have to be diligent with what you want, you have to apply yourself, you have to motivate your self. You have to do for self by yourself, and then you can do things for other people. That's what I had to do, I had to do for self.

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 work really out of mythology, so often I work out of a story that has remained lodged inside somehow, or I work out of history, you know, out of a sense of historical inevitability with characters.

Some people work with a trainer, some people work with a stylist. I work with a celebrity fecalist. A fecalist is basically a person who comes and collects my stools, and then examines them to see if I'm eating right and if I should be drinking more water and what my moods should be.

To be honest the work that a producer does is work that I've done for most of my working life. It's work that I started to do, for example, when I worked with Sally Potter on Orlando. We developed it together over five years.

Helen Vendler calls this kind of interrogation of a work "roads not taken," suggesting that it's useful, when writing critically, to consider what differences it makes to the work or the encounter with the work if changes are made. It's one way of better understanding your experience, comparing it to other possible experiences you can imagine having.

I see more and more that my work goes infinitely better when I am properly fed, and the paints are there, and the studio and all that... I wish I could manage to make you really understand that when you give money to artists, you are yourself doing an artist's work, and that I only want my pictures to be of such a quality that you will not be too dissatisfied with your work.

And all knowledge is vain save when there is work, and all work is empty save when there is love; and when you work with love you bind yourself to yourself, and to one another, and to God.

If I read a script and the subject stays with me - then that's when I want to go to work. Before, I was very addicted to being on set, and I was doing three or four movies a year for many years. Now, fortunately, I can go to work only when I am passionate about a project, and the rest of the time, I can live my life. I'm not interested in doing movies just as a marathon. When I go to work now, I have much more to give. But the other way, you get empty.

Our work is the embodiment of our will. The spiritual manifestation of this work is its effect. When such work is properly done it brings happiness, and when carried out incorrectly it assuredly brings misery. Humanity! Your will is paramount! You can command Nature if you but obey her!

I look at some of my work and say, "Oh, that's where I can be better." I want to continue to grow and do things that do scare me. I want to work with filmmakers who will help me go deeper in my work.

My father taught me to work, but not to love it. I never did like to work, and I don't deny it. I'd rather read, tell stories, crack jokes, talk, laugh -- anything but work.

Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.

We do not work for men. We work for the land and the people. We do not even work for money.

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.

For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.

If there's a deadline, I work late. If not, I like to have normal hours, and get up early and work. When things are going well, I hate to quit. And then I'll work 'till exhausted.

If you are a leader, the true measure of your success is not getting people to work. It's not getting people to work hard. It is getting people to work hard together. That takes commitment.

Enthusiasm is more active than faith, though enthusiasm cannot remove mountains nor call into action any of the omnipotent forces which faith can command. Activity is often at the expense of more solid, useful elements, and generally to the total neglect of prayer. To be too busy with God's work to commune with God, to be busy with doing church work without taking time to talk to God about His work, is the highway to backsliding, and many people have walked therein to the hurt of their immortal souls.

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.

The primary problem is to learn to be your own toughest critic. You have to pay attention to intelligent work, and to work at the same time. You see. I mean, you’ve got to bounce off better work. It’s matter of working.

The highest place was given to Him, who died on the cross, far above all principality and power, and might, and dominion, and every name that is named. There He is now the Man in the Glory. Once more let me state it, the Lord Jesus Christ is corporeally present in the highest heaven. Everything depends on this. If His physical resurrection and corporeal presence in the highest heaven is denied, His present work and future work are an impossibility, and we rob ourselves of every comfort joy and peace. Then, too, His atoning work on the cross has no meaning for us.

Love is hard work. It is the hardest work I know of, work from which you are never entitled to take a vacation.