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It all depends on which side of the desk you're sitting on.
Cancer taught me to live only in the day I'm in. In the moment I'm in. Some moments, I simply ground myself by touching the desk, the table, the wall wherever I am and say, 'You're right here. Stay put in this moment.'
I hate going out for lunch during a workday because it slows down my pace and ruins my rhythm. I prefer to eat at my desk. Actually, I wander around the design studio with a plate in my hand as I dine on, for example, salmon sashimi and a salad of tomatoes and mozzarella. I often have a bit of dark chocolate after lunch.
When I'm sitting at the desk not being able to write line one, it's silence and despair! It's not so easy to put the pen to the legal pad or type the first sentence on the computer screen.
Sure, they were simple desk lamps with only a minimal amount of movement, but you could immediately tell that Luxo Jr. was a baby, and that the big one was his mother. In that short little film, computer animation went from a novelty to a serious tool for filmmaking.
Suppose you were working at your job one day, and you made a little mistake. Then all of a sudden a red light went on over your desk, and fifteen thousand people stood up and yelled at you that you sucked?
You can't reinvent the wheel. I remember when we first started out at 'Late Night,' we were trying to hire directors, and this guy was like, 'I see you behind a glass desk.' I don't. And he's like, 'Yeah, the glass desk.' I go, 'I don't really see me as a glass desk guy.'
I just couldn't take school seriously: I had this guitar neck with four frets which I kept hidden under the desk. It had strings on it so I would practice my chord shapes under the desk and that's about all I did at school.
Eighteen holes of match play will teach you more about your foe than 18 years of dealing with him across a desk.
It wasn't that I couldn't write. I wrote every day. I actually worked really hard at writing. At my desk by 7 A.M., would work a full eight and more. Scribbled at the dinner table, in bed, on the toilet, on the No. 6 train, at Shea Stadium. I did everything I could. But none of it worked.
I get up early in the morning, 4 o'clock, and I sit at my desk and what I do is just dream. After three or four hours, that's enough. In the afternoon, I run.
I began running on an everyday basis after I became a writer. As being a writer requires sitting at a desk for hours a day, without getting some exercise you'd quickly get out of shape and gain weight, I figured.
I remember when I was like 19 years old and I started a desk calendar company to pay for my first short film, just so I could say one day that my daddy didn't pay for my first short film. And I really established myself in the film festival world.
Well, for over a year now at my desk, a prototype program of Luigi and Mario has been running on my monitor. We've been thinking about the game, and it may be something that could work on a completely new game system.
First, I do not sit down at my desk to put into verse something that is already clear in my mind. If it were clear in my mind, I should have no incentive or need to write about it.
C. Day Lewis
You don't have to work for Google, or any of the other firms encouraging staff to pursue personal projects on company time, to use slowness to unlock your creativity. Anyone can do it. Start by clearing space in your schedule for rest, daydreaming and serendipity. Take breaks away from your desk, especially when you get stuck on a problem.
I went to art school... but I worked at the Museum of Modern Art. I worked in fundraising at the information membership desk. I ended up, over a period of time, doubling the amount of membership revenue that came in through people entering the museum, so people would ask me to come and work for them.
There's one great script that hit my desk that I didn't change at all, and that was True Romance.
Insights don't usually arrive at my desk, but go into notebooks when I'm on the move. Or half-asleep.
My father was a truck driver. That's where it all started, and academically I was a disaster at school. My cousin got his name on the honour board; I, at Melbourne High School, I carved mine on the desk.
When I graduated from college, I went straight to work for a federal contractor, a desk job, and they were great to me, they loved me, I was like their mascot, but I just couldn't stand working in an office. I just hated it. And so one day I went in and said, 'I'm sorry, this is my two-weeks notice, I'm quitting to become an artist.'
I write while my son is at school. At about 7:45 A.M., I walk him there, with the dogs, then walk them for another forty minutes or so, go home and chain myself to the desk a little before 9 A.M., and try not to be distracted until I hear my son plunge through the front door at about 3 P.M.
Life-writing calls for any number of dubious gifts: A touch of O.C.D., a lack of imagination, a large desk, neutrality of Swiss proportions, tactlessness, a high tolerance for archival dust. Most of all it calls for an act of displacement. 'To find your subject, you must in some sense lose yourself along the way,' is Richard Holmes's version.
My desk drawer is filled with all kinds of prayers.
The Oscar sits on some shelf above my desk. If there was an earthquake, I could actually be killed by my own Academy Award.
C. S. Lewis
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