Television is my home. It's a special breed of person that can do nine months on and three months off, with 22 episodes of one-hour shows. It's very hard work. It can be a grind. It's not a grind for me. I relish in that.
You've really got to keep on improving and improving and improving. It still involves work. It's not like you get to a point, and then you're good and that's it.
It's hard work. It's really hard work, but it's really interesting. We have this camera, I think it's called a SimulCam, and when you play it back, you can see the giant in the scene you just shot. It's incredible. You're reacting to a tennis ball that's way up there, then when you watch it, it's this huge giant's face on it. Wow. That's cool. I just can't wait to see it when it's all edited together and the special effects are all crystal clear. It's going to be, hopefully, amazing.
Nothing is more dangerous than to stop working. It is a habit that can soon be lost, one that is easily neglected and hard to resume. A measure of day-dreaming is a good thing, like a drug prudently used ... But too much submerges and drowns. Woe to the intellectual worker who allows himself to lapse wholly from positive thinking into day-dreaming. He thinks he can easily change back, and tells himself that it is all one. He is wrong! To substitute day-dreaming for thought is to confuse poison with a source of nourishment.
So many people seem to prefer my silver-screenings of movie stars to the rest of my work. It must be the subject matter that attracts them, because my death and violence paintings are just as good.
When you are doing a lot of hard fast field work, it's a physical necessity to forget every day. You can't try to remember it in any continuity. You get so burdened if you try to do it the other way. You can't dictate to your material... We found our way in, slid in on the edges. We used our hunches. And it was hard, hard living.
The blessing in life is when you find the torture you are comfortable with. That's marriage, it's kids, it's work, it's exercise. Find the torture you're comfortable with and you'll do well. You've mastered that, you've mastered life.
The only thing I can hope the viewer will get from the work is something about the structure of the work. It would be asking too much, I think, for them to get my exact intention. But if - through the construct of language, the way things are juxtaposed - there is some sort of disruption of the way you would normally go about reaching photographic images... if that is happening, that's fine.
Long necks. The thrust of the head in a certain position. The way the fingers work, fabrics work. It's all part of my painting background.
As far as standup, everybody has a vehicle they are driving. If what you do works, it's like playing golf. If you can master that one swing over and over again, you will be successful. That's what standup is. You have to have a central move and it has to be yours. You have to own your comedy, own what you do.
One of my favorite sketches, and a popular comedy formula, is to put someone with a mental handicap in some kind of unlikely situation. For example: The retarded gynecologist, the retarded Jesus, the retarded Osama Bin Laden. It works. It's funny. Inappropriate? I dunno. I feel like I'm a pretty good judge of what crosses the line of good taste being that I am retarded. Socially perhaps, but severly retarded.
...what I try to do is a good bad picture. I work it out very carefully, and then I do something that looks as if it went wrong.
I like to really spend the time and figure it out and rehearsal is to try something that doesn't work. It's hard to do that, because you always want to go with your impulse thought and you wonder if that's the one, did that work, you know?
You can't just do cheap CGI and think that's going to work. It doesn't.
How our government works... it doesn't.
I think just vocally I have a little timber in my voice that God gave me that does work - it puts my own DNA onto it.
I think "MythBusters" is a step up from special effects because we not only have to make things look like they work, they actually do have to work. It's more challenging and even transcendental.
Being on a film set is like being in tech forever. In theater, when you finally finish rehearsing, you go onstage and you do the lights and the sets and you make the machine of the production work. It takes usually about ten days in the theater, two or three weeks if it's a really big musical. I mean, it's hell on earth. You just sit around forever while they adjust the lights. And every playwright with half a brain runs for the hills when tech starts because it's so boring, and you don't want to talk to the director because the director is running this giant machine.
I'm very, very excited because I'm just completing Episode 6 of Series 4 [of Peaky Blinders], which again I think is the best yet. And I'm loving it and it's not like work, it's not like a labor, I love doing it, and the boys are coming back and they're loving the scripts.
Both [of my granddaughters] Octavia and Lavinia have May birthdays. I've just been birthday shopping with them. But the shopping has a budget. I say, "Okay, if you pick this out, then you'll have how much left?" I wait for them to do the calculation, and they'll say, "$18." And we stand there and talk about, hmm, is that sweater really worth that much? And the girls work it through.Doing that takes away some of the magic of money.
I haven't been familiar with hard work. It was no problem for me. But first I hitchhiked to Pontiac, Mich. and got a job working in Fisher Body making those 1951 Pontiacs.
Everybody is excited about their projects and I'm excited too. It's not like working. It's like playing with your friends. When I was a kid, I'd say to my mother, "Can I go out and play with the kids now?" Now I'm out playing with the kids all day long.
I'm working it out, man. I'm working through some stuff, trying to find my way like everyone.
If the economists are arguing as to whether we need to cut or stimulate, because they're completely opposite policies, and they can't work it out then I would say let us work it out for you. Let's look at the lives people are able to lead, the effect of policies on the lives people are able to lead, and hence the likely effect on health and health inequalities.
Even if you want to take the American story, they say we used chemical weapons the same day the team or the investigation team came to Syria ; is it logical ? It's not logical. Even if a country or army wanted to use such weapon, they should have waited a few days till the investigation finished its work. It's not logical, the whole story doesn't even hold together.
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