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Ruth Bader Ginsburg Associate Justice of the Supreme Court of the United States, 1993–2020; Judge, U.S. Court of Appeals for the D.C. Circuit 1980–1993
I have followed that advice - with, I confess, occasional lapses not only at home, but in the places I have worked, even in relating to my colleagues at the Supreme Court. It is important to be a good listener if you are to work with others effectively, but it also pays, sometimes, to be a little deaf - for example, in my current position, when a colleague, academic commentator, or journalist writes that an opinion on which I labored endless hours, worrying over every word, is "sloppy," "smug," "strange," or "profoundly misguided." I am making none of those up.
Recorded New York Law School Law Review dinner, New York Law School Law Review (digitalcommons.nyls.edu), 12 February 1999 source ↗
Orhan Pamuk Novelist; Nobel laureate in Literature, 2006
For me, to be a writer is to acknowledge the secret wounds that we carry inside us, the wounds so secret that we ourselves are barely aware of them, and to patiently explore them, know them, illuminate them, to own these pains and wounds, and to make them a conscious part of our spirits and our writing. A writer talks of things that everyone knows but does not know they know.
Recorded Swedish Academy, Stockholm, 7 December 2006, The Nobel Foundation (nobelprize.org), 7 December 2006 source ↗
Haruki Murakami Novelist, short-story writer and translator
I want my readers to laugh sometimes. Many readers in Japan read my books on the train while commuting. The average salaryman spends two hours a day commuting and he spends those hours reading. That’s why my big books are printed in two volumes: They would be too heavy in one. Some people write me letters, complaining that they laugh when they read my books on the train! It’s very embarrassing for them. Those are the letters I like most. I know they are laughing, reading my books; that’s good. I like to make people laugh every ten pages.
Recorded John Wray, The Paris Review, issue 170, Summer 2004, 1 January 2004 source ↗
Gustavo Dudamel Conductor; Music and Artistic Director of the Los Angeles Philharmonic
I will say it’s very in a way looks very physical. You know, it’s like a dance. At the end, you are moving your hands in front of an orchestra, your arms, but it’s like a choreography, and that is, that is a dance part of, of conducting. … But at the end, yes, is something that starts from that, but then it gets very deep in a very, I will say philosophical, metaphysical, psychological thing, conducting—more than. Spiritual. It’s more than moving your hands in front of an orchestra and the people watching you jump or move or do these kind of things, it’s something very spiritual, that is right.
Recorded Academy of Achievement (achievement.org) source ↗

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