A Quote by Marc Almond
These days i tend to use one project I do as a kind of offshoot to the next.
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I'm an impatient guy and tend not to like to stay with one thing for a long time. I'll never be able to write as many scripts as I did for "Felicity" or "Alias" ever again. I'm just too impatient these days. I want to get on to the next project.
You know, when you see yourself on a big screen, I tend to watch from behind my hands. There is absolutely the regret. You always get that at the end of every project. That's what's great about theater: at least every night you get the chance to go out and re-offend. I'm endlessly disappointed, which is what propels me into the next project, probably, not to repair the damage but to kind of hopefully keep developing. Otherwise there's no reason to keep doing it, is there?
I try to just be open to what the next experience is and how it makes me feel, just reading a project, or trying to get involved with a project, or thinking about a project, and what particular emotional flavor that brings. To me, it's never really about planning the next thing, or the career arc. It's about investigating how I feel, from project to project, and finding things that I haven't explored and what that would be like.
I have no idea what the next project will be and if there's a next project. I don't even know if we're all going to be here tomorrow, but I'm pretty optimistic.
Well it kind of is project to project because as a writer I think you always write to some degree about things that you know or things that happened - but my favourite filmmakers, my favourite movies of theirs tend to be the personal movies.
I never had a lot of ideas. I always have exactly one that is the next project; the idea of a project beyond that project is ludicrous.
My students frequently ask what their next project should be. My advice: immerse yourself in the music you love and you will find what you want to do; you will discover your next project.
I don't think I have a sense of fashion. But I do have an aesthetic, which I feel is an offshoot of me working in the design industry. For example, if I am mixing and matching prints on my sofas and cushion covers, I tend to do that with my wardrobe as well.
Symmetrical equations are good in their place, but ' vector ' is a useless survival, or offshoot from quaternions, and has never been of the slightest use to any creature.
I've been really lucky that I've kind of gotten to flow from project to project, because I find it's very important that when you're on a project, you are so invested in it.
Assume a virtue, if you have it not. That monster, custom, who all sense doth eat, Of habits devil, is angel yet in this, That to the use of actions fair and good He likewise gives a frock or livery That aptly is put on. Refrain tonight, And that shall lend a kind of easiness To the next abstinence; the next more easy; For use almost can change the stamp of nature.
If you do not wish to be prone to anger, do not feed the habit; give it nothing which may tend to its increase. At first, keep quiet and count the days when you were not angry: "I used to be angry every day, then every other day: next, every two, then every three days!" and if you succeed in passing thirty days, sacrifice to the gods in thanksgiving.
Celebrity Apprentice' was something where you don't know what you're going to do the next day. Every two days, somebody goes home, and you don't know if the next day you've got to be the project manager or what's going to happen, so you can't really prepare. You really have to be on top of everything.
In Stalinism the tragedy is that its origin is some kind of radical emancipatory project. In the origins you had a kind of workers' uprising; the true enigma is how this project of emancipation went so wrong.
Every project you're involved in and any character that you're invested in ... you learn a message from that experience. I know that sounds a little cheesy, but it's true. Its kind of funny the parallel that I drew from that, you kind of learn something and you get to apply it to the next thing.
When you are overworked and exhausted, there is a sense of kind of delirium and that's why I think architects do all-nighters and they kind of do those deadlines. For four days I remember doing four nights in one row with no sleep. I mean nobody, unless you are crazy, would do that, but you are totally focused on the project.
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