Quotes About Culture

I definitely want to keep working in Ireland, and without being too worthy about it, if it's possible to bring work into the country, that's no harm.

It's my mission to tell the Australians from abroad in my work that Australia is a wonderful place.

I would love to say there was some contemporary artist who's work really got me thinking, but lately I have just been trying to sort out 20 years of garbage TV culture that is filling my brain.

I come from a very critical culture. You know the Scots. They're always saying: 'Oh, no. It will never work. You'll never amount to anything. You've got to know your place in the world.

I'm a believer in the benefits of translation. It's a necessity and a privilege - it would be awful to be limited to reading authors who's work was composed in the languages I happen to have learned.

My theatrical background was in the great work of the South African playwright Athol Fugard.

there's something about Paris that gives you a mental slap all the time, and you can't just sit still and do nothing. You've got to work, to keep up with the pace, the sting in the atmosphere.

We have to work extra hard, because we in America are very ethnocentric--we think our culture is superior. Why's that? It's because we've got moon rocks, and nobody else has moon rocks.

My work sometimes can be abstract and appear not to have a direct relationship to Afro-American concerns, but, in fact, it is based on that.

I would love to work with the artisans and take it to another dimension, the same way I did in Haiti.

I think one of the things that distinguished my work from the beginning when I was in college was my turning towards poetry from other countries.

Typically your work will end up in a museum [after] you're dead. And maybe that's the function of a museum. It's an archive of your work after you're dead.

There's the kind of people like me, who spent years in India, have learned Sanskrit, have done this work deeply - they probably say for lifetimes - now interfacing [with the mainstream].

The great works belong to no one nation, no one cultural tradition even. They are universal.

The fact that Cornish exists at all is just incredible as is the work that people are doing down there, it's such an important part of who people are.

I love the English way, which is not as capitalistic as it is in America. People don't talk about work and money. They talk about interesting things at dinner parties.

I have seen things few of my countrymen have. The first time I went on an aeroplane I couldn't work out how the lavatories worked up in the sky.

German and English firms operate internationally, while French firms do not. The only place where they all have work is in China. Anybody can sell himself in China!

People who own property feel a sense of ownership in their future and their society. They study, save, work, strive and vote. And people trapped in a culture of tenancy do not.

Most importantly, we want to create a company where every employee can bring their whole selves to work.

A director on a film really sets the tone of how people go about things, so everybody is happy to be at work and everybody does their best.

I really wanted to work in the American industry because it's the leading industry. It's where film and television started.

If someone at Fleet Farm offers you assistance and they don't work there you might live in Wisconsin.

To be in Brazil and see the work of Os Gêmeos or to be in England and see what Banksy is doing is pretty fascinating to me.