I'm a fan of Louis C.K., I'm a fan of Lena Dunham. I love shows about people that other people would consider unlikable, or, like, the work of Woody Allen and Albert Brooks.
Finding the perfect lookalike to work with is crucial and a lengthy process. We have our regulars, but we also use social media all the time to find people. It's amazing who you can unearth on Twitter.
There is a thematic continuity here within Bigelow's work: 'The Hurt Locker' serves up a military equivalent of the thrill-trips that Lenny Nero was hustling in her earlier 'Strange Days.'
Working with BET always provides a reminder of why I began to do this work. It is essential that we have platforms where we can discuss our politics, our challenges, and our culture through our respective lenses.
I was being an artist, being sensitive and technical as artists are. I'm sure Leonardo Da Vinci did that. Artists don't always feel the same as others feel about their work.
I auditioned for the part of Cosette in 'Les Miserables' on Broadway. It didn't work out.
There's something about uninterrupted singing that just doesn't work for me, because at some point, I need my characters to talk. Without meaning to offend anyone, a musical like 'Les Miserables' would be the last thing I'd ever be interested in.
Leslie Nielsen was my favorite growing up; getting to work with him was amazing.
Every opportunity I've had to work and act with incredibly talented directors, like Dean Holland was on 'Love,' and the writers and creators of that show, Judd Apatow, Paul Rust and Leslie Arfin, have been incredible learning experiences that have informed my creative process.
I have always believed in 'less is more' in everything I do, from work to my personal life.
I am big on - even with our whole team - it's always about, well, what were the lessons learned? Something didn't work out? What are the lessons learned? What are the lessons learned?
My parents instilled a really good work ethic from when I was little - if you want to have money to spend on holidays, you earn it. So I've always been someone who wanted to be able to survive by myself, but I think you have to let down the barriers a little bit - let other people in.
Anyone that I know who wants to work in these fields by the sweat of their brow, the bend of their back, picking lettuce and fruit, can do it. We don't want those jobs. Let's be real about that.
Because I work on leukemia, the image of cancer I carry in my mind is that of blood. I imagine that doctors who work on breast cancer or pancreatic cancer have very different visualizations.
I can see my work as a job. I do it for money. I likely already look forward to the weekend on Thursdays. And I probably will need a hobby as a leveling mechanism. In a career, I'm definitely more engaged. But at the same time, there will be periods when I think, 'Is all that really hard work really worth my while?'
The higher the unemployment rate, the more leverage I have to 'encourage' you to 'do what it takes' to keep your job. And so you work even more hours, pushing unemployment up and wages down. And that, my friends, is one of the little tricks that keeps you poor and me rich.
Again and again, Primo Levi's work is described as indispensable, essential, necessary. None of those terms overstate the case, but they do prepare readers new to Levi for a forbiddingly educative experience, making him a writer unlike all others and the experience of reading him a chore. Which it isn't.
Real cowboys wear Wranglers. End of story. Levi's may be chic and trendy, but if you work cattle for a living, you wear Wranglers.
Work is in the word 'workout.' But I try to put some levity to it because you've got to want to come back.
I look forward to the day when being called 'another Monica Lewinsky' refers to the hard work behind a master's degree in social psychology from the London School of Economics, after spending the first act of one's life deflecting the shame of a scandal that should have rested on the shoulders of a man old enough to have known better.
