Invest in a couple of really good things – a great, classic coat; a good pair of shoes; and a timeless bag – then fill in the gaps with lower-priced pieces.
There is a connection between me and the collectors, and as admirers of the work they tell me about the differences the pieces are able to make in their lives on a daily basis.
The most significant pieces for me are the ones that come from my drapings. It’s emotional because they are created by my hand and then become a collaborative process in the atelier.
I love writing traditional magazine pieces, and especially their breadth of reporting and the deliberateness of the writing.
I don’t have a disregard for my reader in humor pieces.
On telly, there’s been a move towards entertainment – with some very high-powered, fast-moving dramas. Then we have the Internet, where we get our information but it’s all in bite-size pieces. I think the documentary, as a form, actually speaks to what’s missing.
Here society is reduced to its original elements, the whole fabric of art and conventionality is struck rudely to pieces, and men find themselves suddenly brought back to the wants and resources of their original natures.
I usually do my hair and makeup in 30 to 45 minutes, and if my hair is dirty, I’ll just put it in a bun or a ponytail. If it’s in a bun, I’ll part it down the middle and do a low bun with a couple pieces in the front coming down.
I love charity thrift stores. Amazing one-of-a-kind pieces at terrific prices, and all the money you spend goes to a good cause.
My husband is such a healthy eater. Except when it comes to sweets. He never consumes anything except fruit until noon. And then from noon on he might have some brown rice and some tofu, and then, come eight or nine at night, he orders three mud-pie double-chocolate pieces of cake and eats all three of them.
It’s always hard when you’re working on a project, and you’re seeing it in bits and pieces, whether that be film, television, video games, animation – you only really have perspective of what you’re interacting with.
My hair journey has been lots of fun. I have always loved wigs and pieces, so I am never tied down to one style.
I guess I’ve always been really attracted to period pieces and always felt visually I was probably more made for the ’50s or the early ’60s than I am for a modern day.
You really get to direct the movie three times when it comes to the action sequences and the set pieces.
I’d never done a straight play before, never, and it was very hard work – really, really hard work. It was dense, really wordy, and I was determined to learn every word of it – not just skip over bits and pieces.
A dark, fantastic adventure set in an alternate 1900s Asia, ‘Monstress’ is buried deep in the supernatural. It’s a story I’ve wanted to tell for a long time – it just took me awhile to put all the pieces together.
You cannot parcel out freedom in pieces because freedom is all or nothing.
Everybody wants to come out and win the gold, and sometimes it takes a personal best, sometimes it doesn’t. But to be able to have all those pieces come together, it’s a great feeling.
Yes, my works… are enshrined in museums, but I don’t care if the pieces fall apart in 20 years.
Designing is my hobby. If I didn’t do what I do for a living – at some point when I don’t do this for a living – I’ll probably just do design work. I love finding really special pieces of furniture.
Mail armor continued in general use till about the year 1300, when it was gradually supplanted by plate armor, or suits consisting of pieces or plates of solid iron, adapted to the different parts of the body.
It’s logical for us to sing, but not necessarily operatic pieces.
One of my favourite pieces is ‘Antony and Cleopatra’ – I’d love to be in that. Or an alternative version of ‘Romeo & Juliet’ where I get to play Mercutio, something like that.
I’m looking to find good stories, not big commercial pieces of work.
We work on our set pieces for every opponent. It’s a moment of the game that requires a lot of hard work, defensive and offensively. We try to invest our time in set pieces.
I want to shake people up so bad, that when they leave a nightclub where I’ve performed, I just want them to be to pieces.
We live in such a consumer-based world. Everything we do, someone else has provided for us, so there is something really empowering about knowing that once I have found the right pieces of wood, I can start a fire and keep myself warm and skin an animal to eat and make its skin into leather.
There are certain pieces of music that are always attached to certain books.
Yucca Mountain isn’t pretty. And it also isn’t large. From far away, the mountain’s just a squat bulge in the middle of the desert, essentially just debris from a bigger, stronger mountain that erupted millions of years ago and hurled its broken pieces into piles across the earth.
It’s tricky when you’re doing a recording, because the only weapon you have is your voice and the delivery of that voice. You don’t have a gesture or a facial expression, there are no costumes or set pieces. Everything needs to be present in the voice.
I always tell up-and-coming DJs you have to really love what you do and find that interest to drive you. It requires so much attention to detail, and it takes up a lot of your time. You hear a song, and there are so many little pieces that make that song work. It requires a lot of patience, diligence and resilience.
When Def Jam wanted to sign Method Man, they wanted to sign Method Man and Old Dirty. And Old Dirty wanted to be on Def Jam – everybody, that was like the dream label. But if I had Old Dirty and Method Man on Def Jam, that’s two key pieces going in the same direction, whereas there’s other labels that needed to be infiltrated.
In television, you are of necessity working in bits and pieces and scenes, and things are out of order, and you never can have the same sense of how will this look when it’s all put together, what will the effect be.
When Kubrick called me about ‘The Shining,’ it was very strange. He first asked me to write music for his film, but I instead gave him suggestions about some of my pieces. I told him about ‘The Awakening of Jacob,’ which he did use in ‘The Shining.’
If I’m writing about a modern-day suburb, there’s going to be details of the home and furniture, and if I’m writing about a historical period, those details, those pieces of the world are going to be there as well, but they’ll be simplified, because I’m cartooning it.
I’m something of a history buff. It’s deliberate that a lot of my films have been period pieces.
The clothes that fire up my emotions are colorful and ‘different’ pieces. My eye still picks out gilded-cloque glamour from among Burberry’s streamlined trench coats or a hand-printed coat from Dries Van Noten.
That arrogance of youth and that kind of ignorant confidence can get you through a whole lot of things, and then life does its stuff, and you get smashed around and beaten up. You get full of doubts, and you end up making a person out of those bits and pieces.
Sometimes as writers, we try and put narrative development above character development. We try to move our characters around like chess pieces that do our bidding. The problem with that is sometimes the characters do things they shouldn’t do. Things that are inorganic.
Rumi, who is one of the greatest Persian poets, said that the truth was a mirror in the hands of God. It fell, and broke into pieces. Everybody took a piece of it, and they looked at it and thought they had the truth.
I grew up on the Bond movies. The first one I saw was ‘Diamonds Are Forever,’ when I was a kid. I just loved them to pieces.
I think of my drawing style like handwriting: it’s a mix of whatever handwriting you’re born with, plus bits and pieces you’ve pilfered from other people around you.
A lot of the work in United States is highly critical of technology. I’m using 15,000 watts of power and 18 different pieces of electronic equipment to say that.
I believe in Buddhism. Not every aspect, but most of it. So I take bits and pieces.
All good performance pieces have some philosophical validity. That’s the difference between mere theater and performance art.
There’s a fun, nostalgic aspect to Legos – people connect to the art on a different level. But it’s also a medium that lets me design anything I can imagine. I especially enjoy creating curvy forms using rectangular pieces. Up close, you notice the sharp angles, but when you back away, the corners blend into curves.
You have to be talented. You have to work hard; you have to get the right pieces flowin’ for you at the right time. And that’s just what happened to me. I can’t explain what happened.
Since my family owns the Trump National Doral, I spend a lot of time on the course. Trump Doral’s Golf Shop is the largest pro shop in the country and carries limited-edition pieces and exclusive brands.
I wanted people to know that I’ve been through the rain. I’ve been broken into pieces; I had a daughter at such a young age. There were times people would say, ‘That’s it for her.’ But that didn’t happen.
The shock of the way I mix patterns and fabrics can be disconcerting, but what I am trying to do is provoke new ideas about how pieces can be put together in different ways. I think this is a more modern way to wear clothes that in themselves are fairly classic.
