Barry Bonds Quotes

I did 14 movies in six years, I had a cartoon TV show, and I don't want to do that again. I just want to make unique pieces of art. That's why I quit everything when I was 14 and sat around for eight years before I did another movie.

Pretty much, the writer's in charge in theater. Of course you're in charge with the director, but no one can change your words. People can give you notes, but you don't have to take them. In Hollywood you take them and you cash your check and that's your job. It's very different.

It would have shown people that I was prepared to do that kind of work, although I find myself in a position now where I don't really need to and I could pick and choose the kind of characters I'd like to do.

I acted professionally for about eight years, and I was writing all that time but never showed anybody any of it. There just came a point after those eight years when I thought, 'There's a lot I can do with acting - there are a lot of things I can express and do creatively, but there are also limitations.'

I had opportunities to stay on shows for long periods of time, and maybe financially that would have been good, but I feel good about trying to keep doing things that are a little bit different than what I've done.

I think a lot of what I loved being a studio executive was the variety and freedom. But now, as a producer, you're much more able to enjoy those two things. What I loved about it doesn't necessarily exist anymore.

My proudest thing in my career is that I was able to change it three times. And I'm happy about that. I couldn't have done the same thing my whole life; I would've gone nuts. I couldn't do it, because I do things based on impulsive excitement, and I'm just not that guy that can do something for 50 years and be excited about the same thing.

I enjoyed 12-plus years in TNA, but in the end, I didn't like being there doing what I was doing. That was my issue. I needed to get away.

One thing Della Valle taught me is the power to say no if something isn't right. That mattered even over sales. Now it's rolling and finally, after having been PR, boutique director, operator, messenger, and everything else, I'm finally in the role I like the most - court jester. And that's what I was doing at Chanel before.

I love what I do, and when I don't love what I do, I'll make a change...I can't be the candy queen forever.

It’s up to you to carve out your place, to know when to change course, and to keep yourself engaged and productive during a work life that may span some 50 years.

Like I said, I'm just grateful when anyone offers me a job. It's like, "Okay. I'll do it." FBI agent is one, too, when you get older. When you're kind of an older lady hard-ass, FBI tends to happen. It's just because I'd like to work rather than not work, so I'm just happy if somebody wants me to do anything.

I've been very fortunate to go from interesting chapter to interesting chapter. I've always enjoyed the process and always enjoyed working more really than the end result of what it achieves. I'm more interested in doing the work.

There's no point in it unless it's a story that you really want to tell. It's a nebulous job. Unless you're doing it well, you're not doing anything. And there are a few of those. It's perfectly possible to be a passenger on a film set because if somebody else has written it, you can make nothing of that role and that's exactly what bad directors do.

I change jobs like drinking water ... And as I grow accustomed to the new flavor of a drink I regard as delicious, yes, vital, something fades, life balks. So I break camp; I shed skins.

I will not allow anyone to take anything off my palette but if I do then within that, I can be creative.

Unfortunately, when you're working in film, it's this huge machine, and you've got to get everyone right there, so you get kind of locked into things. I'm not sure where the artistry in film making is. It's usually that moment when you're on set and you're working with the actors. That's the time to play around, the moment of theater. And then you can shape things. But a lot of it is just managing stuff. It's upsetting because you get away from the core.

Since changes are going on anyway, the great thing is to learn enough about them so that we will be able to lay hold of them and turn them in the direction of our desires. Conditions and events are neither to be fled from nor passively acquiesced in; they are to be utilized and directed.

I'm like a movie director, so wherever I feel that I need to go over this type of beat, that's what I'm going to do, that's where I'm going to go.

I believe it doesn't really matter where you work as long as you work. Keep sharpening your teeth.

I'm accepting of change, and accepting of transforming myself at any given time necessary. At this point in my life, sometimes I have to be mom, sometimes I have to come to work, sometimes I have to be a wife. I love that I don't ever have to be just one thing.

To me, all those jobs I did [roles] have been amazing experiences for one reason or another. I got paid and I learned something. I think that's what helped me carry on because I've never really given out that energy of, "oh, I've lost my chance" or missed it in some way.

With 'Hail, Caesar!' it was about all the skill sets I had to learn, but each movie requires a different way of working. You're a piece in a new world, and there is always a difficult part within that world. For me, it's not consistent from movie-to-movie, each film has a central challenge.

If you want to live your life in a creative way, as an artist, you have to not look back too much. You have to be willing to take whatever you've done and whoever you were and throw them away.

If your career is a bad boyfriend, it is healthy to remember you can always leave and go sleep with somebody else.