A Quote by Becca Fitzpatrick

Rollover minutes don’t work with curfews. — © Becca Fitzpatrick
Rollover minutes don’t work with curfews.

Quote Topics

The wise teacher knows that 55 minutes of work plus 5 minutes laughter are worth twice as much as 60 minutes of unvaried work.
It's really not that hard. If I do a Tonight Show, it's six or seven minutes. If I do a concert, it's 90 minutes. If I do an interview, that's 15 minutes. So by the end of the day I've done three hours worth of work.
'Hound Dog' took like twelve minutes. That's not a complicated piece of work. But the rhyme scheme was difficult. Also the metric structure of the music was not easy. 'Kansas City' was maybe eight minutes, if that. Writing the early blues was spontaneous. You can hear the energy in the work.
In the future, everyone will have fifteen minutes of fame. Followed by fifteen minutes of legal problems, fifteen minutes of ridicule from late-night TV hosts, fifteen minutes of obscurity, and fifteen minutes of "Where are they now?".
I don't believe in curfews, because you can't treat men like they were boys without forfeiting a certain level of trust.
I imagine explaining a work of art to my grandmother in five minutes, and if I can't explain it in five minutes, then it's too obtuse or esoteric.
I always say you just need 20 minutes a day. That is it: 20 minutes to do really fast circuits, and you can bring some weights with you to work.
People may see us on TV for only five minutes - but there's a lot going on behind that five minutes. There's 15 hours of work around it.
I knew I could always work harder and be better and show I'm more prepared. I had a whole science to, like, how you have to arrive 17 minutes early to something. If you're 20 minutes early, that means you're too eager, but 17 minutes gives you time to, like, settle, sign in, use the ladies' room, have some water, and get comfortable.
I have makeup that I can do in 15 minutes, 10 minutes, or five minutes, depending on what I'm doing that day. On a day when I'm shooting, it's 15 minutes. Five minutes is when I'm running around that day, and it's no big deal.
There is something very cyclical about the way fashion designers work. They work and work and work, the collection is finally shown, and after those 15 minutes, they must start over from the beginning. This is not unlike the way I work creating new dances.
It's like, the front door of the office is like a Cuisinart, and you walk in, and your day is shredded to bits because you have 15 minutes here, 30 minutes there, and something else happens, you're pulled off your work, then you have 20 minutes, then it's lunch, then you have something else to do.
If I play two minutes, three minutes, 20 minutes, it don't matter to me. As long as we win.
The first cut I do is usually between five and 10 minutes shorter then the cut that we release. Anything I think isn't working or might not work, I don't even put it in the director's cut. And usually it's the studio suggesting I put stuff back in, as opposed to studios saying, "You got to lose 40 minutes," they are always saying, "You've got to gain five minutes."
I believe in sensible, moderate exercise. I try to do something every day, at least 20 minutes per day. I don't think it's realistic to ask people to work out 90 minutes a day.
I have a great tip - I have a jumping rope in the house, and I just do ten minutes of it whenever I can. You don't need to work out for hours, just ten minutes will do.
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