Quotes About Craftsmanship

I take my time to understand the nuances of a character and prepare for a role, which is why I take time to do films. I work hard on myself to fit the character.

You can write a script, but that's just a starting point as a cartoonist. The heart of the process comes when you start to draw it, and you work out how to lay the page out, how best to tell the story.

When I started at Loewe, I took a year out before we did a collection because I felt we needed to work out all the fundamentals. The pencils, the door handles, the style of the press release, the stone of the buildings, the choice of photographer.

Les Pauls work out real well for me because I'll beat the hell out of them and they'll still work. The only trouble with them is finding good ones.

Over the years I must have spent thousands of hours silently brushing on the liquid coatings, preparing each sheet in anticipation of reaching the perfect print.

He can thread a needle with a well-turned phrase.

I don't think couture will die. But it should have no pretension that it will conquer the world. It's not something that will disappear because all you need is a thread and a needle to start making something couture.

I always had a good dexterity. The story in my family goes that at the age of 3 I could thread needles faster than anybody.

I have three assistants, but there isn't a head assistant. All the important drawings I do myself. Every single character is also done by me.

I get just as much of a thrill out of constructing a good sentence that gets a laugh at the end as I do from a joke.

If that voice that you created that is most alive in the poem isn't carried throughout the whole poem, then I destroy where it's not there, and I reconstruct it so that that voice is the dominant voice in the poem.

I am very partial to Lucknow Chikankari work. My colors that I love to work with are ivory based colors, to make it more festive I throw in Mukesh embroidery which brings the color alive.

My mentor Jon Simmons introduced me to the Stanislavski system, which is so heavy on back-story. So you write and write and write these back stories about a character and then you throw it away. So then on set, if it doesn't come, then you didn't do your work.

I don't think anyone is ever writing so that you can throw it away. You're always writing it to be something. Later, you decide whether it'll ever see the light of day. But at the moment of its writing, it's always meant to be something. So, to me, there's no practicing; there's only editing and publishing or not publishing.

Cut your manuscript ruthlessly but never throw anything away: it's amazing how often a discarded scene or description, which wouldn't fit in one place, will work perfectly later.

I write slowly. I actually write quickly, but I throw out so much material.

If you think I write stories where it is all right to just be good enough, are you kidding? You think I have a cavalier attitude on throwing stuff out? Are you kidding? I am not cavalier about what I do for a living.

Thugs Of Hindostan' involved a lot of prep to be able to make the character look effortless.

The biggest cost in making a sofa is the labor/time, thus why recovering one cost almost just as much as a new one.

Students of American glass must always keep in mind that the creations they collect are truly examples of our American culture... and thus have historical significance.

One of the things that gives stop-motion its inherent magic is that you're seeing something imperfect and thus undeniably human - because it's made by human hands.

Every match should have a story in it and I see a lot of that lacking. I see a lot of guys doing a lot of good stuff, and I call it stuff, filling in the blanks in their match, but the stuff doesn't tie in.

Naples is famous for its handmade ties so I always buy them there.

Anyone can make an article longer; the skill is keeping it tight and lean.