This is something that the nimblest standup comedians learn, over time, to handle gracefully. They'll go between prepared material, then they'll respond to what's happening in the room and weave it back into the prepared material and so on.
I had more material on weather than anyone else, I guess, ... back when I was traveling a lot on the road as a standup comic, between airport security and the weather... I just wanted to be prepared for sitting in the airport.
Challenges come so we can grow and be prepared for things we are not equipped to handle now. When we face our challenges with faith, prepared to learn, willing to make changes, and if necessary, to let go, we are demanding our power be turned on.
It's a lifelong failing: she has never been prepared. But how can you have a sense of wonder if you're prepared for everything? Prepared for the sunset. Prepared for the moonrise. Prepared for the ice storm. What a flat existence that would be.
Be prepared to reinvent yourself. Be prepared to go out on a limb occasionally, and be prepared to do the things that you feel strongly about
If you demand that everything that happens be something you are adequately prepared for, I wonder if you’ve chosen never to leap in ways that we need you to leap. Once we embrace this chasm, then for the things for which we can never be prepared, we are of course, always prepared.
Be prepared to be bombed. Be prepared to go back to the Stone Age.
The dojo system in Japan is something very unique. It prepared me not only for wrestling in the States and around the world, but it also prepared me for how to handle myself as an adult in the real world.
The other big lesson from Katrina is that it pays to be prepared. But it's also very difficult to stay prepared because the longer you go between events the more you'll see complacency.
I will do a lot of research and create a lot of material for use in one painting. And then I go on discovering and working with a whole other range of material in another painting. I'm interested in a fairly comprehensive and orchestrated synthesis that might bring about a new situation consisting of this hidden material. I'm interested in hidden source material.
Without a doubt, if I had it to do all over again, I would do whatever it takes to be a one-person studio. You need to learn how to write so you can control the material. If you own the material, you can do it all.
If a person is constantly evolving, constantly reading new material and being exposed to new material and growing in life, then you're becoming, hopefully, a more intelligent and well-rounded individual. If you're not then something's wrong and you're sliding back in the other direction.
The pace is different on a film set. It's slightly slower, allowing for a little more wiggle room. Sometimes there is a bit more room to explore and work on the floor. On a TV set, you really have to be ultra-prepared and ready to deliver because time is so tight. Not that you don't have to be prepared for film.
There were times when I thought I had to be completely off-book and ready to give my opening night performance at the audition, but then I swung back to a more relaxed view of it. Certainly you've looked at the material and prepared it, but there's no reason to be off-book. You're not getting points for being off-book.
I like being prepared. When things are going on and I have to learn my lines at the last minute, I'm never quite secure enough to allow it to be spontaneous. So the more prepared I am, the more I'm able to kind of let it go . . .
I always go back to the original material. I want a good connection as the composer and writer of the score to the director and to the source material. It's really important.
The reality is our season prepared us so well that if we have to play Duke in the second game, we've done that three times this year. We've played North Carolina and Duke back-to-back that this would be the third time. We're just very prepared for this moment.