If we limit our sight to individual players, we'll never see the big picture. The issue is a systemic one, maintained by interconnected actors, all acting in their self-interest to further their goals. The trouble is not, or not always, the actors themselves, or their intrinsic motivations. Instead, it's the overarching goal of the entire system that's at fault: corporate profit above public health.

Most of my teachers wanted to send me to the principal's office. But my fourth-grade teacher once put her arms around me and said, 'You sure write well.' And I've had good penmanship until this day. She was the only one who ever said anything nice to me. That's the kind of motivation that students need.

I grew up when I was 15 when I had my first opportunity in movies. I watched every great movie for a year and a half, and since then I've asked myself how I can emulate such artistry. That's really my motivation. I want to do something as good as my heroes have done.

When you see through a defense mechanism, you don’t stop at the intimidating behavior but go right on into the underlying misperception about life and through that to the path back to harmony. When you see through people’s fear-based actions, motives, and secrets, you’re really aiming for their sweet vulnerability, inner beauty, and magnificence—and you find their soul.

The Four Keys of Great Managers:1. "When selecting someone, they select for talent ... not simply experience, intelligence or determination."2. "When setting expectations, they define the right outcomes ... not the right steps."3. "When motivating someone, they focus on strengths ... not on weaknesses."4. "When developing someone, they help him find the right fit ... not simply the next rung on the ladder.

I know I had no right to do this to you, but if you ask me if I regret it, I will answer you no. If you ask me if I’d do it again, I’d say yes. I would do it again and again and again. There is a darkness in me that lives and breathes just like yours, except it’s motivated by love, and not by pain.

The Secoya are trapped between the devastating effects of the colonization frontier and their rich traditional past, which is proving to be as fragile a reality and as fleeting a memory as the most powerful visions of their esoteric science. But instead of detailing that sad scene, in this chapter I have attempted to portray my image of this culture as I see it in its fading colors, magic, and awe-inspiring mystery.

I used to send my characters into a fire that necessarily consumed them, but I have learned, a little, how to send them through the fire to a new place. The characters who do not change — most notably Nakota in Cipher, Bibi in Skin, and Lena in Kink — are motivated by an essential selfishness or self-centeredness, an unwillingness to relinquish control to the process, a refusal to become.

We are betrayed by our maps of salience. They plot our narratives, identify our enemies and then coat them in distorting layer of loathing and dread. We feel that hunch - withdraw - and then conduct a post factum search for evidence that justifies it. We are motivated to fight our foes because we are emotional about them, but emotion is the territorial scent-mark of irrationality.

To me, form doesn't always follow function. Form has a life of its own, and at times, it may be the motivating force in design. When you're dealing with form as a sculptor, you feel that you are quite free in attempting to mould and shape things you want to do, but in architecture, it's much more difficult because it has to have a function.