A Quote by John Dickerson
When the campaign ends, and you are home, the alarm clock is the same, but you don't know where to start after it goes off: expense reports, new stories, the crusted paint cans that have to go to the hazardous-waste disposal site, the wiper blade on the Honda that has gone droopy.
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Discipline starts every day when the first alarm clock goes off in the morning. I say 'first alarm clock' because I have three, as I was taught by one of the most feared and respected instructors in SEAL training: one electric, one battery powered, one windup.
Don't think in the morning. That's a big mistake that people make. They wake up in the morning and they start thinking. Don't think. Just execute the plan. The plan is the alarm clock goes off, you get up, you go work out. Get some.
Homey don't quit. What else are you gonna do? It's like those guys in the cartoon they get up in the morning, check the clock and fight all day and after it's over they check the clock and go home. That's how it goes.
A campaign gives you focus. You wake up to a different hotel alarm clock every day, but you know your mission.
My travels have always been of the same kind. No matter where I've gone or why I've gone there it ends up that I never see anything. Becoming a movie star is living on a merry-go-round. When you travel you take the merry-go-round with you. You don't see natives or new scenery. You see chiefly the same press agents, the same sort of interviewers, and the same picture layouts of yourself.
The trouble with an alarm clock is that what seems sensible when you set it seems absurd when it goes off
The more sleep you get in before the clock turns midnight, the more rested you feel no matter what time your alarm goes off.
With a chemical alarm, you're going to build one that is oversensitive because you would rather the alarm go off and give you a false alarm than to err on the other side
With a chemical alarm, you're going to build one that is oversensitive because you would rather the alarm go off and give you a false alarm than to err on the other side.
When you write a novel or paint a picture, you have the opportunity to approach it and back off, tear up pages, write, rewrite, paint over, and come back to it. In film, once you start shooting, you can't restart the clock, and you keep moving forward, and you don't look back, and you don't go back. And that is, of course, antithetical to the creative process. It's really hard to generate a comfortable creative flow under that kind of pressure.
The moment the alarm goes off is the first test; it sets the tone for the rest of the day. The test is not a complex one: when the alarm goes off, do you get up out of bed, or do you lie there in comfort and fall back to sleep? If you have the discipline to get out of bed, you win - you pass the test.
If I'm going to the White House, my alarm goes off at 5:00 A. M. Typically there is no snoozing; jump out of bed, text my producer, often start texting with sources if there's breaking news that's happened overnight, and I'm off and running from that moment on.
My first car was an '86 Honda Prelude. It was redone, so it had a new motor, new paint, rims... but it wasn't nearly as much as my Range Rover.
My uniform is sweatpants, so crusted over with dried paint that they're as hard as a table. I wear T-shirts that are also covered in paint, and Crocs.
Since the start of the Ashes I have had a hectic workload. I've played almost every game, but I'm thinking that after South Africa and the Bangladesh series I can clock off for two or three months. It's like Friday afternoon for a guy who goes to work all week.
Where every day doesn't start with an alarm clock and end with the television.
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