Project Quotations

I think people thought I was crazy for leaving Mexico when I had any project I wanted falling at my feet. But I risked everything to come to Los Angeles, where no one knew who I was, and start all over again. It was a very hard step to take. However, it was the moment I thought it was right to take a risk in my career.

Socialism is the gradual and less violent form of communism, and socialist is the project of the European Union, which was born in Maastricht in 1992. The intent was to save socialism in Europe after the fall of the Berlin Wall and the predictable bankruptcy of the welfare state in the West as well.

This project would not only open up venues of cooperation in the oil and gas sector between the member countries but also help bring the people of regional countries together.

The idea of making a film - a film that I had certainly never seen before - about the slave experience was a huge responsibility. It's a project that requires a wider understanding of the geopolitical nature of the slave trade, of historical and modern-day racism.

To get into another person's mindset and what they are trying to do with their project is a challenge, and it is what I like.

I worked with Stanley Kubrick for almost a year back in 1990, trying to develop the screen story for his project 'Artificial Intelligence,' which is about a robot boy who wishes to become a real boy, a future scientific fairy tale inspired in the myth of Pinocchio.

There is a healthy fraternal rivalry, but nothing serious and we both have been looking for a project to do together. I guess he may direct me in a project some day.

My Mom and Dad did it pretty good, so I know it can work. The foremost thing I would say about working with Robin and Sean is that they were devoted to this project and devoted to their characters. You can't ask for any more from talented actors like that.

All the way back in 1999, when I first stumbled upon the idea of a project tracking John Dillinger and Baby Face Nelson and all the major Depression-era bank robbers, I thought the subject was too big to be a single book. Instead, with a friend's help, I pitched the idea as a miniseries to HBO. To my amazement, they bought it.

I don't start with a design objective, I start with a communication objective. I feel my project is successful if it communicates what it is supposed to communicate.

I often put any project I write in a different decade just to roll the thought around in my head. There's a thriller I've written that I think would be nice to set in the '70s or '80s, just to take cell phones away from the movie. There's nothing like the piercing ring of an old-school telephone to really scare an audience.

At this point in my life - age 24 - I have chosen a fairly strange path that not many are walking. I am a professional spoken word poet who tours the world performing and teaching. I run an organization called Project VOICE dedicated to using this art form as an education and empowerment tool in schools and communities of all kinds.

The overall view of the human genome project has been one of great excitement and positive press, but there are people who have concerns that are quite reasonable, and they are frightened of things they don't understand.

To understand how black projects began, and how they continue to function today, one must start with the creation of the atomic bomb. The men who ran the Manhattan Project wrote the rules about black operations. The atomic bomb was the mother of all black projects, and it is the parent from which all black operations have sprung.

I'm not Waylon Jennings, but I do a fair imitation of him, and a few other country greats, like Willie Nelson. It would be great to sink my teeth into a project where I could play a country singer. I'm like an old cowboy.

Every project has to stand on its own. It's a different identity within each project, and I feel like that's the way it should be.

I love writing and directing because it's great therapy. Every project I've done, there's been a personal connection.

The Occupy Wall Street project feels like a burning ember that might light the torch of justice and inflame our longing for freedom.

Every time I make a new game, I put all of my effort completely into that game. It's like putting all your effort into a new child that's being born. Once the project is done, I can step back and look at it objectively, which is when I can see a lot of flaws. That's when I start to make a new game that tries to fix some of those flaws.

I believe it is called 'Area 51' because of a project, the very first project that went on out there, in 1951.

I heard about the project over a year before we began. My American agent said, 'Oh, you might want to read 'In Cold Blood' because they're talking about you for Capote, but the script's with Johnny Depp and Sean Penn at the moment.' So, these things take their time to dribble down the food chain.

Writing is exhilarating, but reading reviews is not. I've been really devastated by 'good' reviews because they misunderstand the project of the book. It can be strangely galvanising to get a 'bad' one.

How does a project get to be a year late? One day at a time.

In the summer of 2012 - and we do as we do when we get together to brainstorm an idea - we were both probably eating grilled cheese and watching 'Oprah's Favorite Things,' so it will never end, and we both brought a few things to the table of what we wanted our next project to be. And Jessica said, 'What if we raised a baby together?'

I had always told my father that before working with him in the same frame as an actor, which I was petrified to do, I wanted to learn from him, so I had pleaded with him for two years before he agreed to write and direct 'Mausam.' It was our dream project and a wonderful opportunity for us to work as a family.

I think whenever you have a product you are always trying to improve it. Whether it is a commercial project out on the market or it's a creative collaboration, you are always looking to keep you audiences more engaged.

We'd love it if everybody had a Kickstarter project. I believe that everyone has some kind of creative project that they think about - whether it's something small they'd like to do over a weekend with friends, or it's the film they've always wanted to make, whatever.

There's a science fiction project we really want to make, but it's very expensive. Hopefully it will happen.

There was a second problem that was still not a technical problem... the project became classified. I couldn't work on it after having gone to all that trouble. I was considered a security risk, so I could not get a clearance.

When I hear that a project takes place out of town, the material better be terrific, and it has to come at the right time. My kids are getting older, so it's getting easier, but being a mother - it's a difficult thing to juggle.

The negotiation of city space has been made more difficult with the idea that redevelopment is an improvement for some vague future - but it's never like that, is it? Once you get there, for economic reasons you have to generate the next project - so you're immediately starting to dig up something else, and so it goes on.

I was in Beijing a month ago working on the smoke project in collaboration with an architect there, and I was asked very directly whether it was safe to breathe in the smoke. They did not have confidence in the museum not to use harmful smoke, and they certainly didn't have confidence that the city would protect them from harmful smoke.

I've worked with a lot of first time directors; in fact, I enjoy it because there is a certain beginner's mind that they bring into a project that isn't loaded with the way things have been done before. There's a certain freedom to it.

I'm asked all the time, 'Doesn't it feel great to finish the novel?' And the answer to that is, 'No.' It's sort of a loss to stop a 10-year project, which is an imaginary project in the sense that it's a work of my imagination.

Just doing a project because it's an opportunity won't create meaning. As an artist, I need something to communicate.

When I was doing the first 'American Pie' movie, I was just happy to have a job. We had a good time, and it was a great group of people, but like any project that I've worked on in my career, you just put your best foot forward, and you're all working together to make the best movie possible.

I don't project no image. I just act like myself. I write about how I feel, the emotional stage I'm in at the time. So I write from the heart. I never write from my mind. My brain, I mean.

Many environmental battles are won by delaying a destructive project long enough to change the conversation - to allow new economic, political and social dynamics to emerge.

Hollywood is a roulette wheel. Each project dictates what's going to happen for you next, and it doesn't really matter that your project is critically acclaimed or won awards or has fans worldwide. It's a matter of how many movie tickets and DVDs and on-demand movies that you sell.

Since I was 12 or 13, I have been taking movie meetings finding a project right for me because I wanted to try it. Craig gave us the script - it was set in Wales, it is really British humour. I just loved it.

I had a dozen years to act before starting a family, then found that motherhood dwarfed everything else. Once or twice a year, I take a project that appeals to me for its redeeming social value.

'The Unity Band' project has been life-changing for me. I have led many groups of talented musicians, but this is unlike anything else.

This is going to sound pretentious and esoteric, but I truly mean it from the bottom of my heart. Acting has always been a spiritual journey for me. The very first project I ever acted on paralleled my experience so perfectly even before I was aware of it.

I'd like to do Broadway if the right project came along, but my mission in life is that I want to help change people's lives.

The Garden of Wonders project encompasses the knowledge that Be Open has accumulated over the years of work on different continents and different spheres.

By supporting all the links in the building chain and giving them an easy, intuitive tool for sharing model-based project information, GTeam enhances workflows and improves communication from design through to fabrication and assembly.

From initial concept to final build, 'Train' was close to a year in development. Much of this was research and letting the dynamics of the project come to the surface.

This mission was the project of a decade's work.

'Rent' was a special project for me. It was my first notable screenplay job. I worked with two wonderful directors on it, starting with Spike Lee in the summer of 2001. I wrote a draft for Spike and he was really good to me.

The Guess Guy has to have a masculine presence and project a strong personality as a counterpoint to the sensuality of the women in the campaigns. With Tom Skerritt, I think people thought he was an interesting - maybe not the most obvious - choice for a Guess campaign. However, I felt he had that perfect combination that was right for the brand.

It's so wide; that's what I love most about my career. It's been varied, and the music has been varied, because I find myself getting bored pretty easily. So for me, to work in the studio has been great. I didn't go on the road; I just worked on a different project every day, a different kind of music, and that's the challenge I love.

I might not be the greatest actor, but I walk into every project willing to work hard.

The reason for this project comes from my childhood, that is clear to me. I did not have any toys. So, I played in the bricks of ruined buildings around me and with which I built houses.

I work all the time; whatever I do, I do it, and I don't necessarily look at it as work. You could say the Auschwitz project was work, or the Lowy Institute is work, or Westfield is work, or the football is work. It is life.

I first considered writing 'New York' in 1991. I'd been in the city for a decade, was married to an American wife, and sending my children to New York schools. I was even on the board of a coop building. But I wasn't sure how to organize such complex material, and for many years I put the project aside.

'Our Dream Playground' is a new online project planner designed to help you build the playground of your dreams. It's a free resource, brought to you 'KaBOOM!,' offering step-by-step instructions to help you bring play to the kids in your community.

I won't sit here and say an Open Source project will do things faster than a closed source, but one of the reasons why is that it sits on a whole lot of things that came before it.

I get called to do a lot of labors of love... independent films on very small budgets. If I have the time and if the project speaks to me, it's better than sitting around, right?

When studios start telling me why a particular film project won't work, I remember 'Rocky.' I remember that the biggest success Bob Chartoff and I have had was a film nobody wanted to make.

My original project was called 'The Wheel'; there's a record out there called 'Desire & The Dissolving Man,' 'The Memory Of Loss' as well. There's also 'Falling Faster Than You Can Run,' also 'Closer'; all of that's on our website.

My costar James Lafferty, and his little brother Stuart Lafferty, and another buddy of ours, Ian Shive, are working on this project called 'Generation Wild.' It's about getting people to realize that being outdoors is not scary - you can go on adventures like we do, in national parks, and practically in your own backyard.

The beauty of an art project is that you cannot always measure the impact, but one day it can become clear.

Profit in business comes from repeat customers, customers that boast about your project or service, and that bring friends with them.

I started my career as a liberal arts major from Berkeley, wrote about enterprise IT for a few years, then followed my passion for the digital narrative into graduate school as well (also at Berkeley, the Oxford of the West or, perhaps, the Harvard - sorry Stanford!). My first project out of grad school was 'Wired' magazine.

In 1990, Howard Friedman and Leslie Martin, two psychologists at the University of California, Riverside, embarked on a research project within a research project, seeking answers to the question, 'What makes for a long life?'

I'm happy, so I just want to project that happiness through my music to make other people happy.

For me to do a project - I have a pretty successful solo career, so - for me to even want to do Primus, it had to be a creative step forward.

I just feel like when a good project comes along, I'm not going to discriminate against it because it's television or because it's a film. I never want to say no to something just because of the area that it's in. If it's a good story or I think it's going to be exciting to play or exciting to be a part of, then I'm going to be a part of it.

The project which we developed, however, was for a sound piece and I was initially curious that a sculptor should be interested in working with a musician, especially on a project for radio.

I became interested in making books, starting about 1965, when I did the Serial Project #1, deciding that I needed a small book to show how the work could be understood and how the system worked.

The mindset of chasing that next #1 record doesn't exist for me anymore. It's more about being a well-rounded entertainer than being a pop artist. Obviously, it would be wonderful to have a hit record but I don't base my happiness on that anymore. It's about the accomplishment of a project that satisfies me. I just want to enjoy the ride.

I went looking for some preliminary information, and very quickly was struck by the sort of way the surface-level knowledge about Zelda doesn't begin to describe the person that she really is. You know, I had come to the project with the idea that she was, you know, just F. Scott Fitzgerald's crazy, disruptive wife.

To create a big company, you need more partners, as it is hard to handle such a project alone. Such projects bring access to the expertise and management resources of the partners, and their connections above all.

It's very important to understand that we never do the same thing twice; each of our projects is unique. We'll never do another 'Gates.' Each project is a unique image. We do not know in advance how the work will look. I do preparatory drawings, but they are only projections of our vision.

The great seats of power tend to be wide and open, not vertical and soaring. Red Square, Tiananmen Square, the Brandenburg Gate in Berlin - all massive but with large open spaces that project an image of might.

During the summer of 1963 between my junior and senior years, I began a research project on hypothermia in the Department of Surgery with Sidney Wolfson. I quickly became fascinated by the project and continued working on it throughout my senior year.

I have worked closely with many of our county commissioners, mayors, local transportation officials, and others to determine project needs in the 18th District, and they deserve a great deal of thanks for today's victory on the House floor.

There was a point of frustration, where I thought I should just take a film, even though I didn't want to. I was impatient with being at home. But I hung on to the approach I've always had, which is to wait for a project that I could contribute something unique to.

To me, it's about good work, a good story, and tastefully done. There's so many stigmas - oh, you're on the small screen or you do films or you do reality. It's about the project and not the medium on which it's delivered. It's the story you tell, period.

The 'Total Information Awareness' project is truly diabolical - mostly because of the legal changes which have made it possible in the first place. As a consequence of the Patriot Act, government now has access to all sorts of private and commercial databases that were previously off limits.

A chance to work with the guys from Isis sounded like a lot of fun. I've always been into the atmospheric sounds they had created with that project and felt my sense of melody would meld well with theirs.

Usually when I start a new project there's a fear of the unknown; maybe it's a band I've never been in the studio with before. People are so different. It's almost like you need to go through the process, discover and unlock what it is that makes that band that band. And a lot of times they don't know it.

It is a very frustrating thing to be the face of a creative project and yet essentially have zero creative control over that project. Essentially, you're a pawn in the system.

I think that's something people need to convey because you see all these celebrity moms out there, and the perception is they can do it all, but they have sooo much help. And it's kind of an unfair image to project for many women, because it is really hard, and if you have help, you should indicate you have help.

'Paranormal Activity' was a unique project in that I made it basically on my own, with a little help, and I had no exposure to the filmmaking world when I made it.

I've played the wicked mothers; I've played the serial-killer-type mothers now. They have to have an edge on them. They can't just be everyday moms, because I never thought of myself as an everyday person in cinema - I'm an everyday person in real life, like anyone. But not in what I project out there. I want something more exciting.

Their term project consists of a fieldwork collection of folklore that they create by interviewing family members, friends, or anyone they can manage to persuade to serve as an informant.

For me, everything is still possible and I am as determined as ever. I believe first that the project of a people does not die. It is the project of freedom for a people, it is a project of sovereignty. And since the nation exists, it has the right to its own state. I will work to advance it in that direction.

If a film project were available and the timing was right, I might be interested.

In the earliest days, this was a project I worked on with great passion because I wanted to solve the Defense Department's problem: it did not want proprietary networking and it didn't want to be confined to a single network technology.

I never really thought of myself as a musician. I'm not saying Sonic Youth was a conceptual-art project for me, but in a way, it was an extension of Warhol. Instead of making criticism about popular culture, as a lot of artists do, I worked within it to do something.

If I can't find a project that I'm really interested in, I'll just go back to college where I've been studying art history and French. I'm also going to study English and philosophy - the whole curriculum!

From the age of four, I was a huge comic fan and still am. When Lost in Space came along it was like being in a huge comic so we jumped at the chance of being part of that project and it proved to be a good choice.

My first Kickstarter project created a book called 'Clear and Present Thinking', a college-level textbook on logic and critical reasoning, which was made available to the world for free. As a professor myself, I observed that the price of textbooks was too high for some of my students.

'Hurt Village' is based on a real housing project in Memphis, about three minutes away from the Lorraine Hotel where Dr. King was assassinated, so in my work I'm focusing on a very specific area in Memphis. I see 'Hurt Village' as a natural extension of 'The Mountaintop.'

In every successful still photographic project that I have completed, there has always been a turning point in the story where I felt that perhaps I was working on something that could be very special.

Whether it be through television, or through music, or through dance, or through film, whatever it is, as long as it's the right project that makes sense, then I'm all for it.

Understand 'Minecraft,' and you'll begin to understand the power of games. Like any good story, this one begins with a man and a dream. Markus 'Notch' Persson first started on the project to create a three-dimensional world vast in scope, with elements that allowed you to customize your character into the way you want them.

That's Tommy, this great producer who comes in contact with people and must have a mental library of personnel who are great for this and great for that, and he brought this whole group of musicians to the project that I'd never worked with before.

The creative project of self-government - hard and frustrating but necessary - is to produce that political commonwealth that changes over time, that can change sometimes by the minute, if circumstances intervene.