A Quote by Steve Martin
I was reading an article in the 'New York Times;' it talked about being in the zone, and being in the zone you're so focused that time ceases to exist. It's when you think, 'Oh, I've been doing this for five hours and didn't even know it.' It's the difference between hard work and going, '12 o'clock, not moving.'
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I say to people, 'Do you have any idea how hard it is to do that, to write 7,000 words in 10 hours or 12 hours for the front page of the 'New York Times' and to know that they trust you so much that that it's going to lead the paper?' It's hard. I mean, it's a feat.
I get in that zone, even if I'm relaxing or whatever, where I just zone out. I don't even hear anybody. You could ask me a question five times, and I don't even hear it.
A golf ball is like a clock. Always hit it at 6 o'clock and make it go toward 12 o'clock. But make sure you're in the same time zone.
Most traders believe that 'getting into the zone' happens when you have 'a hot streak.' I believe you can create the zone. The zone is a psychological state. It is when you are focused, disciplined, and fully engaged in the process at hand . . . trading in the zone will certainly increase your capacity to perform and succeed.
Being a stunt girl is very much my comfort zone, so I had to remove the comfort zone to step fully into the slightly scarier zone. Also, just being perceived as an actor by the outside world, rather than as the stunt girl who does dialogue, has been a part of the challenge in front of me.
There's already a marriage clock, a career clock, a biological clock. Sometimes being a woman feels like standing in the lobby of a hotel, looking at the dials depicting every time zone in the world behind the front desk - except they all apply to you, and all at once.
When I get a script and do my work, and then show up on set and work, it's the same zone that I'm in when I'm in front of a canvas, or when I'm writing a story about one of my paintings, or when I'm playing music. Whatever I'm doing at any given time, it's the same exact zone.
We were going to do 'Reno 911!: New York, New York, Las Vegas,' which was like a 'Die Hard' set not in New York, but in the New York, New York casino in Las Vegas. We were really excited about being locked into the one casino and doing a bad action movie.
That strange new zone between medium and message. That zone we call the interface.
We tried to talk about [the Owls' zone], but it's hard to replicate it. It's nearly impossible to penetrate that zone. What you do get are open outside shots. You're going to have to make some of them.
I saw this sign posted once, it said, "Blasting Zone Ahead." Wow. Shouldn't that read: "Road Closed?" What do you mean there's a blasting zone? What am I supposed to do? "Hey-uh, you might wanna buckle up. Blasting zone coming up. Yeah. Just saw the sign. Put the helmets on back there! Yeah I think we're- (Pow!)- Oh! We're getting close! (Pow!)- Oh! This is gonna be a bad blasting zone! Remember that last one-we lost Billy?"
I think that's the difference between meetings in New York and L.A. In New York, it's like, 'Be there, and be there on time.' In L.A. it's like, 'Oh, we get it. You might have ran into traffic. We'll reschedule.'
One big disturbance, I think, between L.A. and New York is that New York is so condensed and together that it's very hard to be private there. There's a lot of constant interchange, people know what you're doing all the time. Here in L.A. it's the opposite, it's very spread out, unless you make a conscious effort to go someplace and look at something, you don't see it and we hear about it. So in that sense, it's a city where you can be very anonymous if you want to be, or even if you don't want to be.
I think one of the most difficult challenges in show business is the challenge of longevity and to constantly realize and reveal what's already been there - like doing stage and singing and dancing in New York. I haven't been that far out of my comfort zone in a while.
It's easy to be an actor at 8 or 9 in the morning, but it's really important to be focused and work hard at 6 and 7 at night, after you've been on the set for 10 or 12 hours. That time counts, too.
Yes, I did move to New York when I was eighteen to do sports broadcasting. I didn't know how I was going to do it, so I got a job at ESPN Zone, thinking I would meet people in the business. People give me a hard time for it, but they don't realize that they shot 'Sports Reporter' there and that folks from ESPN and ABC were in there all the time.
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