A Quote by Kim Weston
You work on an idea, your first interpretation is very raw and you work it and you work it and it gets polished and polished. It gets to a certain level and then it comes down off that peak.
Related Quotes
Five hundred words a day is what I aim for. And I don't go on to the next chapter until I've polished and polished and polished the one I'm working on.
The nature of process, to one degree or another, involves failure. You have at it. It doesn’t work. You keep pushing. It gets better. But it’s not good. It gets worse. You got at it again. Then you desperately stab at it, believing “this isn’t going to work.” And it does!
Secure writers don't sell first drafts. They patiently rewrite until the script is as director-ready, as actor-ready as possible. Unfinished work invites tampering, while polished, mature work seals its integrity.
If the girl is good looking and talented, and for some reason the film doesn't work, she gets a second chance. But if subsequent films don't work, she gets branded as an 'iron leg.' The whole thing gets negative.
I'm most excited that the hard work has paid off for myself and the team. You put your heart and soul into something and you want to show it to an audience outside of Jersey Boys. It gives a chance to not only show my work, but of Jeffrey Schecter as an actor and co-writer. It gets to show off our cinematographer, my production team. That's what I'm most proud of… everybody gets to have their own moment to enjoy it.
I recognize very much in Hopper that it does look like the United States; it looks like the 30's and my first impressions of everything, all of which I have to deal with and which gets mixed up in my work and probably gets mixed up in everybody else's work too.
Speedwork is terribly overrated! I remember talking to runners after distance races and someone is sure to say they were able to run fast off base work with no speed work at all. The truth is speedwork doesn't work. Lots of miles, and then fast miles gets you there much quicker than speed work.
New York is a place that can grind you down and spit you out. A true New Yorker doesn't get ground down - he gets polished.
New York is a place that can grind you down and spit you out. A true New Yorker doesn't get ground down, he gets polished.
I was so mad at my agent. I had polished and polished and polished [the play], and he referred to it as a draft. I wrote him a bitter letter: How can you call this a draft? I don't do drafts! By now I've done 18, and its turning, in the rehearsal room, into a 19th.
Books are like sapphires; they must be polished - polished! or else you insult your readers.
I have modes, mental modes that I get in, and when I'm on the road, I focus very much on doing the work. On playing the show, on being good every night. And part of me just gets switched off. The part that's very private and very personal and very intimate. That especially, that part of me gets shut off.
I'd love to work on something that gets some type of critical respect. This business is sometimes so brutal - you work on something for months and really feel like the project is good and you're doing the best work you can, and then it just gets hammered by critics. It's such a bummer sometimes, because everything seems to build up to the release and a couple of bad reviews can make it seem like it was all a waste, which you know it wasn't.
The frivolous work of polished idleness.
Work is rich. It can be looked at psychologically or philosophically or personally. The interpretive nature of work is different than the work itself. The interpretation of work isn't the key to understanding it. I'm worried about making a good sculpture. I'm not so worried about the interpretation of it.
In most modern instances, interpretation amounts to the philistine refusal to leave the work of art alone. Real art has the capacity to make us nervous. By reducing the work of art to its content and then interpreting that, one tames the work of art. Interpretation makes art manageable, conformable.
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