Quotes About Craftsmanship

I was taught to whistle as a little girl by an undertaker. I used to sit in his workshop, watching him planing wood for the coffins, and he used to whistle all the time - and eventually I started whistling, too. I can whistle anything, particularly trumpet tunes from Classic FM.

Even before it opened its retail arm, Beigh was renowned among pashmina cognoscenti for the quality and complexity of the work produced in its workshop, a large, airy, sunlit rectangle of a room directly across from its second-floor shop.

I was always stealing 40-gallon drums off the road at night, bringing them back to the workshop and cutting them up with a gas axe because I loved to weld. I would make creatures out of these old metal drums.

I have never gone on a real trip, never taken a holiday. The best holiday for me is spent in my workshops when nearly everybody else is on vacation.

When my kids were in the school play for the first time, I decided I had to make the costumes from scratch and bought material, wadding, dyed T-shirts, and purple tights so I could say I made the octopus costume myself.

It has always been my practice to cast a long paragraph in a single mould, to try it by my ear, to deposit it in my memory, but to suspend the action of the pen till I had given the last polish to my work.

Hema ji is a dedicated artist and a perfectionist who continues to rehearse on her lines till she gets them right.

In terms of directors, great actors make directors - Gary Oldman was great to work with, for me; Tim Roth, too. You work with Scorsese and Spielberg and they were wonderful directors, but for me, working with actor/directors is special.

Hat-making is laborious and time-consuming. It's a very tactile medium, and you can develop the skills, but it's one of those things: you either have it, or you don't. I love bringing something to fruition with my hands that gives people pleasure.

The word 'fashion' I don't like because fashion is something that's over in six months. I'd like to find a word that's more timeless.

I concern myself with timelessness all the time. If you're not swinging for museum quality, your mind is not in the right place. It doesn't mean you get there, but at least it's the intent.

I loved 'Rain' and its take on the Beatles. The way they used a timeline and news reel to create a mood, and crafted set changes throughout, it was stunning.

I quickly realized that this medium had a lot to offer someone like me. To do Disney-quality hand-drawn cartoons, you have to be a master of two art forms. Seriously, you have to be able to draw like a Leonardo da Vinci or a Michelangelo. But also you have to know movement and timing and control that through 24 frames a second.

If you're entering into fashion in an original way, you have to know your craft, and you have to know your history. You have to be obsessively dedicated. You have to be relentless about making it happen. It doesn't take a bank. It takes passion, love, timing, and luck.

I've spent years on stage adjusting the timing of a line to infinitesimal degrees.

Whether it's some last-second move within a move that he's adding, or switching up his timing the smallest amount, or using the rim as a shield in all of these creative ways... it's hard to explain, but what Kemba is able to do around the basket is unique.

I've never been a believer in the word-count thing. I write slowly and tinker with the words and the word order, and I throw a lot of stuff out.

Shooting action is very, very meticulous, it's increments, tiny little pieces.

When I was reading books for 'Seesaw Girl,' I came across several references to the fact that in the 11th and 12th centuries, Korean pottery was considered the finest in the world. I liked that - the idea of a little tiny country being the best at something.

When you're playing guitar, it's the tiny little nuances that make the difference. For me, obviously, tunings is a huge one.

A movie is like a tip of an iceberg, in a way, because so little of what you do in connection with making a movie actually gets into the movie. Almost everything gets left behind.

The X Factor' was amazing because I like being a positive role model to young artists; that's what I believe in. If I can shed some light and give them some tips on how to believe in themselves and be more confident with their craft.

I don't know if you've ever knit a sweater, but by the end of it, you're like, 'Ugh I can't wear this. I can't stand the color. I'm so tired of it.'

I love drafting like I love eating ice cream or having sex; I love revising like I love doing logic puzzles; I love line-editing like I love perfectly organizing a bookshelf; I hate reviewing copyedits and the second round of proofreading because, by then, I'm getting pretty tired of my own words. They all have their own challenges, though.