That made me feel very disturbed, because it never seemed to be about how much hard work was involved. Ever. It was about... 'hazel eyes'. It does help if you can brush that stuff off.
When I interview somebody, I look at their resume to see what they've done, who they've worked with, and how many times. If they've gotten repeat work. Those are the kinds of actors I want to hire.
Slavery was not a bad day on the job. It was not your boss yelling at you. It was not hard work for little pay. This was a full system of human subjugation.
The second draft is on yellow paper, that's when I work on characterizations. The third is pink, I work on story motivations. Then blue, that's where I cut, cut, cut.
We all know the place you're in has a big impact on how you feel. How you feel has an impact on the quality of work. Why wouldn't we put a lot of effort into making the place we work as efficient and productive and pleasant as possible?
I think it's nice to know that people in the industry are paying attention to all of the hard work you've done throughout the years and rewarding you for it. It reminds you to keep doing it, to keep pushing yourself, and to always remain that way.
So I am happy to have fans, especially if it enables me to keep working. And I am really grateful when people respond to my work.
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.
Husbands, be patient with your wives; and wives, be patient with your husbands. Don't expect perfection. Find agreeable ways to work out the differences that arise.
As an actor on sets, I've always clocked how hard the crew works, how much longer their days are, how much lesser their glory is - and the fact that their commitment to the work and project is unwavering, no matter the budget.
I guess it's hard work... whatever the decision is, how to show it to people that aren't necessarily dancers, how to get people to think about more than themselves.
It's obviously nerve-wracking, because I don't know the ropes really, William is obviously used to it, but I'm willing to learn quickly and work hard.
They believed you can't mix rock, country, and rap, and that crossover is dead. I always knew it would work. And it will always work as long as you're really into it and like what you're doing.
I think if you touch ordinary people, they're simply ordinary people, the way they've always been. They work hard, they don't have really as much as they should.
Luck? I don't know anything about luck. I've never banked on it and I'm afraid of people who do. Luck to me is something else: Hard work - and realizing what is opportunity and what isn't.
I do weights and work out different body parts on different days. I don't do cardio - I did too much in my tennis-playing days!
I learned two basic lessons on Everest. First, just because something has worked in the past does not mean it will work today. Second, different challenges require different mindsets.
The market system requires that people be committed and willing to work hard. Inherent with that is what I call a merit system, which I think gives people the greatest opportunity.
I've never been happy with the quality of my work. I always felt as though my musicianship was lacking and that I should have worked harder at it when I was younger. As I sang and sang, I improved.
Neuroscience is exciting. Understanding how thoughts work, how connections are made, how the memory works, how we process information, how information is stored - it's all fascinating.
When you're young, you develop ways to win, and you think they will always work, but then you get to the top, competing against the other top athletes, and sometimes things don't work.
