I just love the hours of the theatre, I love the way it operates. I always say that when you're doing a play it's like getting a shot of B12, and when you do television for a long series you need a shot of B12.
It was an hour of sanity with the good guys winning, a situation where the world was right side up.
I only listen to my own music when I'm playing an hour-and-half set each night. I don't put it on recreationally.
I've always considered transcribing to be an invaluable tool in the development of one's musical ear and, over the years, I have spent countless glorious hours transcribing different kinds of music, either guitar-oriented or not.
I procrastinate in spades. In my defence, I also try to have all other distractions solved before I can concentrate on writing. My small theory is that to write for three hours, you need to feel like you have three days. To write for three days, you need to feel like you've got three weeks, and so on.
When I go to the movies, one of my strongest desires is to be shown something new. I want to go to new places, meet new people, have new experiences. When I see Hollywood formulas mindlessly repeated, a little something dies inside of me: I have lost two hours to boors who insist on telling me stories I have heard before.
It's tough to go to sleep at night, and I wake up after five hours because I feel like I'm wasting time. I just sit up at night and think about what I can do next.
The human species is often amazingly inventive and industrious but at the same time profoundly lazy. It's very clear that we humans don't like to work. This aversion to work is so extreme - and our ingenuity so acute - that we're eager to devote countless hours designing and building devices that might shave a few minutes off our workday
When in these fresh mornings I go into my garden before anyone is awake, I go for the time being into perfect happiness. In this hour divinely fresh and still, the fair face of every flower salutes me with a silent joy. . . . All the cares, perplexities, and griefs of existence, all the burdens of life slip from my shoulders and leave me with the heart of a little child that asks nothing beyond the present moment of innocent bliss.
I'd like to think life has improved since 1850, despite the long hours we all seem to spend slaving over hot computers, but the psychological journeys remain the same - the search for love, identity, a meaningful place in the world.
That is longing: To dwell in the flux of things, To have no home in the present. And these are wishes: gentle dialogues Of the poor hours with eternity.
If I sleep for more than half an hour, I get horrible dreams in which I'm firing a gun and helicopters are coming down.
I've always found it interesting when I'm the person in the audience feeling mismatched by what I've seen or heard. The shows I've taken the most from I may have not liked while I was there listening to it but, maybe an hour later, there's suddenly a lightening bolt out of the blue: "Oh, I'd see them again."
If there's a deadline, I work late. If not, I like to have normal hours, and get up early and work. When things are going well, I hate to quit. And then I'll work 'till exhausted.
I look for material that both interest me and challenges me. If I am drawn to the material and I have to work hard at it, the characters and the plots reflect the hours and hours of research.
In theory, I work an eight-hour day and a five-day week which means I can socialise with my pals who mostly have normal jobs like teaching and computer programming.
Doing a sitcom is like doing a play - you rehearse for three or four days, and then you shoot what you rehearsed on Friday night in front of an audience. An hour-long drama is like shooting a movie. You're shooting 13-14 hour days. The endurance itself is different.
I trained 8 hours a day 7 seven days a week and I had 2 weeks off in a year.
Oh, well, in Los Angeles everybody is an actor, or a producer, or a writer, or a director, or an agent, or... So everybody understands the hours.
I think every director's different. Every director's got his own style. I mean, when I directed, I basically just screamed for eight hours a day, twelve hours a day.
The original Dean Martin Comedy Hour handed me some hysterical sketches. I've got highlights on tons of these variety shows, given to me by their great writers. I'd love to be doing all that again.
Almost every day I wrap up my two-hour live broadcast and I say to myself as I'm driving home, 'I wish I would've done this' or 'We really should have gone live longer with this segment.
Two hours on television just doesn't automatically happen. I'm up early, I'm reading newspapers online, talking to my staff, coming up with ideas.
I never worked less than 16-hour days on South Beach.
I started to learn Greek when I was in high school, the last year of high school, by accident, because my teacher knew Greek and she offered to teach me on the lunch hour, so we did it in an informal way, and then I did it at university, and that was the main thing of my life.
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