Explore Quotes on Work

I look at my time on this earth as social anthropology, at home and in work life.

Having diverse leadership means there are more voices in the room, and there are more different points of entry for people who are being bullied or abused at work. There are more points of entry for them to complain to.

Because Led Zeppelin weren't having to worry about doing singles, each time we went in to record, it was a body of work for an album. So you could get the shift and the movement forwards as opposed to having to be rooted back to a single that might have been done a year ago.

The re-releases have more than doubled the amount of Led Zeppelin work out there. I wanted it done authoritatively, 'cause I was the one writing the stuff; I was the producer and mixer. I don't think it's any more weird than writing your autobiography.

I didn't have any sophistication. I didn't really have any great taste or anything like that. I was just a kid from Brooklyn. But what I learnt is the why, the how. The work ethic.

Labels need to work with artists to help them achieve their best work, not to jam records out that are half-baked or three-quarters baked.

I was very insecure. I figured the only thing I can do is just work harder than everybody else and be useful. So I would anticipate when a client would need a cup of tea. I would anticipate when they wanted to rewind the tape. I would anticipate when they were going to do a vocal.

In the case of 'Walk Between Worlds,' I'm happy to say that it was one of those records that when we were working on it, we would go home at the end of the day with smiles on our faces. We felt it was good work and every song we worked on, they seemed to connect.

If you become world champions, there is nothing to top that. It's the result of many years of work, good decisions inside the association, good training and good players.

I have carried the burden of being a role model for some time. And that's great. The body of work I've done has afforded me that opportunity.

As an actor, you think to yourself, 'I want to do good work,' but you also want the work that you do to make an impact in some way.

Every actor has to deal with what's on his plate, and I try to deal with doing the best work possible with the most challenging scripts. I don't base it on whether it's a feature film or a TV-movie or cable.

You shouldn't be surprised when you end up the places you've prepared and put the work in to go.

I was one of those guys where nothing ever fell into my lap, I had to go out and work for it.

Think about this: No one works hard to fail. When you put the work in, you're expecting to be successful.

I don't trust anybody that doesn't do good work. I don't give them any credibility. If they can't write, why should I believe anything they have to say?

That's what's great about standup comedy: the instant feedback. You get up on stage, you tell a joke, if it doesn't work, come back the next day with a better version of it.

I recently discovered the work of Giorgio Manganelli, who wrote a collection called 'Centuria,' which contains 100 stories, each of them about a page long. They're somewhat surreal and extremely dense, at once fierce and purifying, the equivalent of a shot of grappa. I find it helpful to read one before sitting down to write.

I think one of the things that attracted me about theater and the stage was the ability to escape reality. And that is what I do in my work as a writer, but in a different way. And the freedom to put your own existence on ice and become another person.

With 'Interpreter,' I didn't know it was ever going to be a book, that they were going to be published. I was writing them in a vacuum for the most part. They were my apprentice work. Then the stories happened to become a book.

I tend not to look at my work after I've done it. In fact, the only time I typically get to review it is when the fans bring up comics at shows, and I kind of flip through it and be like, 'Oh, I remember doing this!'