A Quote by Gareth Southgate
Very often, you can go into one game and do really well, and then you have to find that level of performance so quickly again.
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Loss aversion is a really disproportionate anxiety about stuff that doesn't matter very much. So for instance, if you lose $5, you feel really bad about the $5 you've lost. You're cursing yourself. You're going through it again and again. If, on the other hand, you find $5, you go - hey, great, five bucks. And you've forgotten about it really quickly.
I do read very, very quickly. I do process data very quickly. And so I write very quickly. And it is embarrassing because there is a conception that the things that you do quickly are not done well. I think that's probably one of the reasons I don't like the idea of prolific.
What we're seeing at the moment is people being radicalised or adopting Islamist, murderous Islamist ideology very, very quickly so that you have people that are not on the counterterrorism radar screen who then often, as a result of mental illness, will then attach themselves to this murderous ideology and then act very quickly.
It's a group of men - Conor included - everyone is so collaborative and cooperative, kind, considerate, very professional. And they know their craft. They know it very very well. There's no room for messing around. It's not messy at all. When I go in at this level, when I get the opportunity to play and work at this level, it's at the top of the game. I think, in life, we rise to whatever the bar is. I've been fortunate to rise with them.
The stressful thing about being an actor is, like, you have to kind of audition again and again and again, you know? You go in one time, and you go in again for a director and then again for producers and then again and again and again.
The thing about theater that always and still kind of makes me edgy is that you work and work and work and work, and then you're just in performance mode, and then you have to just be on; the work is done, and then you just have to do it over and over again, so you're just constantly at that performance level.
Today's games are more forgiving in the sense that you can save your game almost anywhere, and get back into the action very quickly, whereas in POP when you died you had to go back to the beginning of the level.
I'm very lucky to be at this level and it is very hard to catch up. It is all about holding on and it is very important to learn from the other drivers. I tend to put a lot of pressure on myself, wanting to be very good very quickly, which forces me to up my game.
Raising your level of performance requires a proper mentality and meaning from within. This gives you the ability and drive to work on the things necessary to go to a higher level. When people ask me how to raise their level of performance, the first thing I ask is, How important is it to you?
It's interesting because the way J.J. cuts - we're very close with our editors as well, so it's kind of the first cut and then he went back and started tightening things up, etc, then loosing things when it was too tight. Then you start watching it and you start figuring out performance - not performance, character-wise I should say, who you're really able to follow, whose journey is harder to follow, and you make all that work.
There's an old African proverb that says "If you want to go quickly, go alone. If you want to go far, go together." We have to go far - quickly. And that means we have to quickly find a way to change the world's consciousness about exactly what we're facing, and why we have to work to solve it.
Well, outside of the tone, the big thing that I gained from working on horror film was how to shoot really quickly with no money. I learned how to be able to go into a production and know exactly what shot I need to get and how the shot needs to look and what performance I need to get out of the talent at a very quick pace.
I think it's too easy often to find a villain out of the headlines and to then repeat that villainy again and again and again. You know, traditionally, America has always looked to scapegoat someone as the boogie man.
I often find in doing tragedy, or doing very serious material, that there's a level of anxiety that builds that often leads to laughter in some cases. In between takes, there can often be a lightness.
I often get very tired but I'll just have a good sleep and a day off and then I'm fine to go again.
I change my mind every five minutes. I'm very brutal with my own process. I throw everything away very quickly, and then I have to go out and rummage through the rubbish in the middle of the night to try to find a bit I'd written a week ago.
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