A Quote by Garry Winogrand
I really try to divorce myself from any thought of possible use of this stuff. That's part of the discipline. My only purpose while I'm working is to try to make interesting photographs, and what to do with them is another act - an alter consideration. Certainly while I'm working, I want them to be as useless as possible.
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While doing centering prayer, the practice is to let go of any thought or perception. The priority is to be as silent as possible and when that is not possible to let the noise of the thoughts be the sacred symbol for a while, without analyzing them.
I try to think as little as possible, at least while working. I look at some of my early stories and can see the machination behind them, like a gear slowly moving. For example, sticking a dead father into the story to explain a character's sadness and bad decisions, or trying to impress myself with my own cleverness.
I feel like karma is something that's real. I try and be the best possible person I can be, but not only that I try to help as many people as possible and influence others in a positive manner. And that's all stuff brought on by MMA because I want to be successful so want to be the best possible person.
There are many challenges I face while working on a book. Working within deadlines and schedules is certainly one of the bigger ones for me. I want to create the best possible book I can for my readers with words and pictures - and that takes time to get it just right.
I don't really try to judge any character that I play, afterwards I figure it out, but while I'm working on the character, I have to find something in them to relate to.
Eventually, I thought that it's interesting to make some rules for yourself while you're working on one project so it sounds different from the other stuff you do.
If you try to impose a rigid discipline while teaching a child or a chimp you are working against the boundless curiosity and need for relaxed play that make learning possible in the first place... learning cannot be controlled; it is out of control by design. Learning emerges spontaneously, it proceeds in an individualistic and unpredictable way, and it achieves its goal in its own good time. Once triggered, learning will not stop--unless it is hijacked by conditioning.
I find myself acting for an editor more, because there's a quick turnaround with television, so you want to try and seem like you're as frenetic as possible, while replicating your movement so you're giving the editor more opportunity to cut within the different takes. If you're so crazy that you're sitting in one take and standing in another, the editor can only choose one take or the other. But if you can wrangle yourself into the same spot over and over, then you give them more choices for you.
I've never really viewed myself as particularly talented. I've viewed myself as slightly above average in talent. And where I excel is ridiculous, sickening, work ethic. You know, while the other guy's sleeping? I'm working. While the other guy's eatin'? I'm working. While the other guy's making love, I mean, I'm making love, too. But I'm working really hard at it.
I try to talk as less as possible and maximise the music part. I have tons of songs on my set list and I want to sing all of them, or as much as possible. If I talk more it'll eat into the time allotted for me.
In the end, there is no ideal condition for creativity. What works for one person is useless for another. The only criterion is this: Make it easy on yourself. Find a working environment where the prospect of wrestling with your muse doesn't scare you, doesn't shut you down. It should make you want to be there, and once you find it, stick with it. To get the creative habit, you need a working environment that's habit-forming. All preferred working states, no matter how eccentric, have one thing in common: When you enter into them, they compel you to get started.
The selfish and usually pointless approach is to try to get both done simultaneously - accomplish your work at hand while begging forgiveness of those close to you while you're basically working in front of them during what could've been specifically 'quality time.'
I'm a huge Hayao Miyazaki fan. He might be my favorite director of all time - the beauty that he sees in the world and the attention to detail. I try and focus on that while making music: trying to use as many real instruments as possible, have it feel as tactile and tangible as possible.
What's going to be hard for me is to try to divorce myself as much as possible from what I wrote. I'll have to approach it simply as raw material and try to craft a film script out of it.
I don't try to make things mysterious on purpose; I just try to make them interesting.
In practice a photographer does not concern himself with philosophical issues while working; he makes photographs, working with subject matter that he thinks will make the pictures.
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