A Quote by Eva Longoria

You can't have a relationship when you're shooting a 14-hour day and your husband is shooting a 14-hour day in the same city. It's a time thing and it's a together thing. — © Eva Longoria
You can't have a relationship when you're shooting a 14-hour day and your husband is shooting a 14-hour day in the same city. It's a time thing and it's a together thing.
I can't be under the weight of the character for a 14-hour shooting day. I don't think anybody can do that.
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.
One thing I learnt was that you don't have to spend all day shooting: you can get it done in half an hour if you're that talented as a cameraman.
The next day, we shot 'I Want You Back,' and that was a 14-hour day. That's typical. By the end of the day, my knees and ankles are killing me.
I think that the biggest challenge for me making films is how much of your life you give to something. Shooting the film requires 14-hour days, six days a week.
Any time there is an economic downturn or political strife, lipstick sales skyrocket. If you have a hard day, it's this $14 thing that lifts your day. I think drag has that same lipstick effect.
Give yourself the gift of uninterrupted time. It can be the first hour of your day. Or the last hour. A lunch hour. You want time free from phone calls, visitors, mail, things to read. Unplug the phone if you have to. Lock your door. Put a sign on it that warns people of the consequences of entering. Do what you have to and watch the results. One hour of uninterrupted time can double a person's productivity for the day.
I can have a real long day; I can have a 14-hour day of intense work and then get home, and it's just me and TCM on into the night.
We should be shooting 3s whether we're 1-for-14 or 10-for-14.
Place has always been important to me, and one thing today's Chicago exudes, as it did in 1893, is a sense of place. I fell in love with the city, the people I encountered, and above all the lake and its moods, which shift so readily from season to season, day to day, even hour to hour.
I like to imagine that all the choices you make during the day that you're doing a particular scene are going to feed into the creation of that scene. It's not a movie-by-movie or a part-by-part basis. It's a day-by-day thing, and sometimes an hour-by-hour thing.
I’ve heard it said that every day you need half an hour of quiet time for yourself, or your Self, unless you’re incredibly busy and stressed, in which case you need an hour. I promise you, it is there. Fight tooth and nail to find time, to make it. It is our true wealth, this moment, this hour, this day.
I was working, like, 14-hour days on 'Fargo,' and now if I schedule more than two things in a day, I'm like, 'Whoa, you guys. That's two train rides, and I have to plan for an hour-and-a-half lunch with my cat.'
For a year after that was done to me I wept every day at the same hour and for the same space of time. That is not such a tragic thing as possibly it sounds to you. To those who are in prison tears are a part of every day's experience. A day in prison on which one does not weep is a day on which one's heart is hard, not a day on which one's heart is happy.
My average day on 'Leverage' starts at 5 A. M. and ends 12 to 14 hours later. An hour drive to the set and back sometimes makes the day unbearably long. You have to grab a few minutes to yourself where you can.
We shoot 12 to 14 hours a day. To do all that physical stuff yourself, you have to be on a nutritional plan. I have six or seven meals a day. I eat every hour and a half, and make sure it's all clean. I have absolutely no sugar at all.
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