Quotes 21 till 40 of 235.
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Before I started MakerBot, I was creating cool stuff and sharing it with the Internet. That's how I knew all the folks at BoingBoing, at Engadget and Gizmodo.
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Before Paul and I started the company, we had been involved in some large-scale software projects that were real disasters. They just kept pouring people in, and nobody knew how they were going to stabilize the project. We swore to ourselves that we would do better.
Interview from Programmers at Work -
Being surrounded by hockey, I got forced into it as a kid. I started skating when I was 4 and had a rink only 10 minutes from my home. In my town, we had one outdoor rink and one indoor rink, so you could skate all year long. I lived by a lake, too, so we did a lot of skating on the lake.
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Blues was my first love. It was the first thing where I said Oh man, this is the stuff. It just sounded so raw and honest, gut-bucket honest. From then I started rebelling.
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Bowie and McCartney arrived, and the biscuits and caviare started and I left immediately. I don't like shouting across rooms, with people in shiny suits who look like used-car salesmen.
Tim Teeman, The importance of being Childish, The Times, 2006-12-02 -
Brooklyn is where I primarily developed. I had an opportunity to make records and perform in clubs here and there, and I started networking with the right people in the right places.
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But once I acclimated and really used fame for what it was offering me as a tool to serve my life purpose of inspiring and contributing, then it started to get fun again.
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But when I started writing songs, I stopped painting completely, and the only art things I do are connected to the career, like album sleeves and, to some extent, posters and things like that.
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By the time I was 19, punk had occurred. It had a completely different cultural dynamic to it which rejected everything and started again from the year zero.
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Dance has always been my number one. I started when I was seven years old and I've had the opportunity to work with some really amazing artists.
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Dylan, myself and my father were in a two hour movie called The Sand Kings, which started off the Outer Limits series. It was sort of the two hour pilot movie.
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Every time I started going in the direction of thinking how it might turn out, I started to just turn my brain around and not go there, because I think the surest way to guarantee that you won't win is to assume that you will.
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Every well built house started in the form of a definite purpose plus a definite plan in the nature of a set of blueprints.
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Everyone has his superstitions. One of mine has always been when I started to go anywhere, accomplished.
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Everyone says, 'You give birth, you go home, and you have this amazing baby and it's just beautiful'. And I walked in and I just started sobbing.
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Flirting with madness was one thing; when madness started flirting back, it was time to call the whole thing off.
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For me, the perfect film has no dialogue at all. It's purely a visual, emotional, visceral kind of experience. And I think one can create wonderful depth and meaning and communication without using words. I started out as an illustrator and a cartoonist and caricature artist, so for me the visual is primary.
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Force never moves in a straight line, but always in a curve vast as the universe, and therefore eventually returns whence it issued forth, but upon a higher arc, for the universe has progressed since it started.
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Fortunately, I never had to do the waiter thing. When I got out of college, I immediately started to teach acting. One of the first jobs I had was in a federally-funded program where I taught drama to young people.
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From the time I started school, it was clear to everyone that I wasn't learning at the same pace as other kids.
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