A novel is a relationship, you know? When you read a book, the writer has done half the work, and you're doing half the work. You're providing the imagination, the words are turning into pictures in your mind, there's an active relationship that's going on.
Take imagination breaks... Relaxed attention is one of the most important states of mind for creativity, and sometimes it has to be learned.
My paintings used to be so realistic and I found it a little bit boring, especially now that I'm in New York. I wanted to be more free, first in my mind and then, slowly, in my work. Many artists have these jumps in their work and at some point it looks like a supermarket. For me it was important to develop.
We have an obligation to each other to not only push our politicians, but to push companies to do right by their workers. They wouldn't even have successful companies without their workers. They are the glue that keeps things together. How, in the 21st century, we have mega-corporations that have lost sight of that boggles my mind.
Working with other people, it's hard to get them to make it sound like what you have in mind. Also, it's really expensive to get your tracks produced, so I thought if I could learn how to do it myself, I could make five albums in a month and it would be free, it would be me, and it would be everything that I'm doing.
Our pointe shoes are our instruments. If something's wrong with my feet, all my mind goes there. I usually have six pairs ready. Soft shoes for one act, stiffer shoes for another, stronger shoes for a variation with a lot of turns.
You do miracles if you concentrate your mind on one thing and one thing only.
The impossible is not quite impossible if you put your mind to it.
My job involves searching for 'lost' quotations - that is, trying to find out who came up with a quotable saying that lingers in someone's mind and which they wish to use for their own purpose and which they cannot find in conventional dictionaries of quotation.
The revolts themselves open up something very new. One has to be aware, or listen, or open one's mind to what are the new beginnings.
The paintings don't exist outside themselves. There's no lead photograph off the internet or anything like that. It all comes from my mind and it's a bit like a little movie each time - how do I get the props, the setting, the time of day, the light, the action.
I definitely wouldn't mind gaining a few more pounds at all.
When you are going through something that heavy, for me anyway, I couldn't imagine writing about anything else. I always tend to write about what's most prevalent in my mind.
Honestly, working with Eddie Murphy was mind-blowing just in terms of the budget alone. To see the respect he commands, to witness his presence, you understand why he and people like Martin Lawrence are stars.
I may be alone in this, but I do sense the power of film, in that movies have the ability to literally change people's minds. That's pretty powerful stuff when you consider that.
I want to show little girls that the possibilities are endless. That's my goal - to not only do it for myself, but to show them I can do whatever I put my mind to.
Use your unconscious mind to read other people's intents, emotions, and desires.
You have to begin by posing questions to your unconscious mind, and then listening very carefully for the answers. If you pose the right kinds of questions, and listen well, you can begin to tap into the power of your unconscious mind.
You have to learn to trust - and listen to - your unconscious mind. If you pose the question to your unconscious "is this person a friend or a foe" - safe or a threat - your unconscious mind is hard-wired to assess that brilliantly for you. It's just that we're not very good at paying attention to what our unconscious minds are telling us.
The conscious mind is easily overwhelmed. The unconscious mind is vast and far more powerful, but by definition we're not aware of it.
In fact, lots of good poetry doesn't work , so I don't mind a bit of mystification or difficulty.
There's one theory that the funnier a comic is in his act, the more mind-numbingly boring he'll be when he's not holding a microphone.
Never mind, never mind, let's get to the part where we smite the unrighteous. I've brought my most alarming teeth!
I try to keep a pretty one-tracked mind.
My scripts are always heavily noted. If I can take a director to one side and say, "Do you mind if we try this?," a few days before, that's usually a better way of doing it then on the day.
