We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.

I think we're lucky because there are very few people in life who get to do what we're doing.

I make a movie because it's something that inspires me.

All my movies, like Revenge, are under two hours.

Out of the total of 11 movies, I got slammed.

We come from a tough, working class background, so we're very tight.

The world is sick of big IT things that don't work.

We don't ever want IT to be the thing that holds GM back.

We think of enterprise architecture as the process we use for fully describing and mapping business functionality and business requirements and relating them to information systems requirements.

GM is a highly collaborative organization; we rely on a whole tier of suppliers for everything that we do.

I have a short attention span.

I thought that subtitles are boring because they're there generally to serve us with information to make you understand what people are saying in a different language.

Ridley and I talk every day. Our family is very close because we're from North England.

There's one great script that hit my desk that I didn't change at all, and that was True Romance.

A lot of actors talk about doing their homework, but very few of them do it.

Dad never understood why Ridley wanted to go to art school, and then I came along six years later and wanted to do the same thing.

Dad was a very gentle, sweet man.

Dad was a very gentle, sweet man. Mum was the matriarch and the patriarch of the family. She ran the roost with a steel fist, but at the same time there was respect and love for her.

I like changing the pace of my life, changing my discipline. It gives me ideas for how to see the world differently.

I'm a plagiarist - I always look back at other movies, and I steal, but I steal well, and I reinvent.

If you look at my body of work, there's always a dark side to my characters. They've always got a skeleton in the closet; they've always got a subtext.

Mum was the matriarch and the patriarch of the family.

The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.

The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face, and a sense of guilt that everybody puts their faith in you and not coming through.

The true excitement comes from the actors - that gives you the true drama - and whatever I can do with the camera, that's icing on the cake.

We had a brilliant upbringing, and we never wanted for anything, even though we went through highs and lows of finances.

What always leads me in terms of my movies are characters.

In addressing a task, one almost always has several possible options, sometimes only a few, and they may all be practical and functional. But they lack the aesthetic aspect that raises it to architecture.

People can inhabit anything. And they can be miserable in anything and ecstatic in anything. More and more I think that architecture has nothing to do with it. Of course, that's both liberating and alarming.

The organizational architecture is really that a centipede walks on hundred legs and one or two don't count. So if I lose one or two legs, the process will go on, the organization will go on, the growth will go on.

The intellectual architecture means focusing on doing great work instead of focusing on agency politics.

Architecture is not an inspirational business, it's a rational procedure to do sensible and hopefully beautiful things; that's all.

The new architecture of transparency and lightness comes from Japan and Europe.

Every man's work, whether it be literature, or music or pictures or architecture or anything else, is always a portrait of himself.

All architecture is great architecture after sunset; perhaps architecture is really a nocturnal art, like the art of fireworks.

My interest in architecture has always been sculptural. Most of my photography is of architecture.

I see architecture not as Gropius did, as a moral venture, as truth, but as invention, in the same way that poetry or music or painting is invention.

Japanese traditional architecture is created based on these conditions. This is the reason you have a very high degree of connection between the outside and inside in architecture.

I studied architecture in New York. So, really I was very moved, like everyone else, to try to contribute something that has that resonance and profundity of it means to all of us.

Architecture in general is frozen music.

But those musics do not address the larger kind of architecture in time that classical music does, whatever each one of us knows that classical music must mean.

To create architecture is to put in order. Put what in order? Function and objects.

The team architecture means setting up an organization that helps people produce that great work in teams.

French architecture always manages to combine the most magnificent underlying themes of architecture; like Roman design, it looks to the community.

What is being called the UN 'gender architecture' is more like a shack. Women need a bigger global house if equality is ever to become a reality.

Any architectural project we do takes at least four or five years, so increasingly there is a discrepancy between the acceleration of culture and the continuing slowness of architecture.

The dialogue of architecture has been centered too long around the idea of truth.

The greatest advances of civilization, whether in architecture or painting, in science and literature, in industry or agriculture, have never come from centralized government.

Victorian architecture in the United States was copied straight from England.