If I'm in a state about a book, I'll get up at 6 A.M. and write before breakfast, but usually I'll start afterwards and then work a full day with a break for lunch.
Forget about where you want to be and go out and build stuff. Dodgeball came from being bored at work... things happen because you make them happen. Stop sketching, and start building.
Really, even in this whole Obama initiative, and everything that's going on with the economy, the only way to jump start it is we have to give each other opportunity. That's the only way to make it work.
I tried to copy some of his mannerisms at first but it didn't work. And then I just let the spirit of the character grow in me and it just took its rightful place. I started to speak the lines and it felt right.
I didn't have big movie offers, or any big agents wanting to work with me. I had to go grassroots, start at the bottom and go on 150 auditions before someone finally gave me a shot.
We started shooting, and then Jodie found out she was pregnant. Forest broke it to me - he'd gone to work and heard it on the radio! It seemed like the movie was doomed. But, like these characters, there was a disregard for all the signs along the wa...
When I first started doing work on how the Internet is affecting commerce, like a lot of people, I was really excited by this nearly perfect market.
Our biggest goal is to continue to force ourselves to always start our creative work on a white page and not take advantage of past successes and challenging ourselves.
I was pulled out of Omaha when I was younger because my father started to work, when he was done serving as county commissioner, at Archer Daniels Midland.
I think many start-ups make mistakes because they are focusing on things that are farther ahead, and they haven't done the work that has built the foundation to support it.
You have to realize that when I started to work on 'Aladdin', Disney Theatrical wasn't in existence. I suppose I had always hoped that 'Aladdin' would be somewhere on the runway.
My ambition was to be a record producer, and I had started doing that in the late '60s with my work with the MC5 and my friend Livingston Taylor.
When you first start, you just want to get a job. It goes from that to really deciding what kind of work you want to do and what kind of actor you want to be - and it only gets harder.
We were using a hand-held camera to film the scene when Morse collapses. The camera wouldn't start. Three times they said action and it still wouldn't work. To this day, they still don't know what was wrong.
You start where you can get an opportunity, you take everything that you can do to gain entrance. You do the little work and you try to find people who can teach you.
I started in theater. I would liken sitcom work more to theater work than I would, perhaps, to dramatic television. It's so quick. It kind of feels like the pace of a play.
I started out as Keith Mitchell. I had done probably about ten years of television work under that name. Then my grandfather passed away in 1984. I wanted to honor him and his name.
That's where I got my start and where I'll continue to work, but I can't tell you the number of films between Drugstore Cowboy and Curly Sue that I auditioned for and wanted that didn't choose me.
It's definitely hard when you're putting in the work and the guy who's starting isn't, especially if he's overhyped or you're not winning. I can't imagine how hard it would be to be that guy's backup.
I started to make my own films, however small and however independent they were, from the beginning. And so, even though I was nobody, I was always the master of my own work.
It's weird how your perspective changes. At the start of your career, you think, 'I just want to do cutting-edge work that makes people think.' Now, I would do a blockbuster in a heartbeat.
