A Quote by Michael McKean

I can have a real long day; I can have a 14-hour day of intense work and then get home, and it's just me and TCM on into the night. — © Michael McKean
I can have a real long day; I can have a 14-hour day of intense work and then get home, and it's just me and TCM on into the night.
I'm not one who can get by on six hours sleep night after night. You can see it on my face and hear it in my voice. When working 14-hour days, I have to go home, go to sleep, and wake up in time for crew call. I hate naps. They throw me off the rest of the day.
The next day, we shot 'I Want You Back,' and that was a 14-hour day. That's typical. By the end of the day, my knees and ankles are killing me.
Night is purer than day; it is better for thinking and loving and dreaming. At night everything is more intense, more true. The echo of words that have been spoken during the day takes on a new and deeper meaning. The tragedy of man is that he doesn't know how to distinguish between day and night. He says things at night that should only be said by day.
I can't imagine doing an hour-long dramatic series because it's so much work. A sitcom is a wonderful gig. You work from 10 to 4 every day, it's fun, and you get to live at home.
The blacks have their parties, hustle a little liquor, get some things together, and I used to play for those peoples. They'd come get me on time, but they wouldn't bring me back on time... Done picked cotton all day, play all night long, then pick cotton all day the next day before I could get a chance to sleep.
You can't have a relationship when you're shooting a 14-hour day and your husband is shooting a 14-hour day in the same city. It's a time thing and it's a together thing.
During a night shift, I'll work out twice during the day. If I have to work during the day, I usually have guys at the station who will work out with me. Then at night, I'll go train.
Muses work all day long and then at night get together and dance.
For the first-time novelist you've got to get up at 5:30 in the morning and write until 7, make breakfast and go to work. Or, come home and work for an hour. Everybody has an hour in their day somewhere.
I'd rather bake 14 times a day than bake one time a day and have all the bakers go home, and then everything's 14 hours old by the time anyone eats it. No.
My average day on 'Leverage' starts at 5 A. M. and ends 12 to 14 hours later. An hour drive to the set and back sometimes makes the day unbearably long. You have to grab a few minutes to yourself where you can.
If you're doing an hour-long show, you're working movie hours, doing a 12-15-hour day. We work three or four hours a day, and get every third or fourth week off to give the writers time to write. It's the cushiest job in Hollywood.
Four hours of makeup, and then an hour to take it off. It's tiring. I go in, I get picked up at two-thirty in the morning, I get there at three. I wait four hours, go through it, ready to work at seven, work all day long for twelve hours, and get it taken off for an hours, go home and go to sleep, and do the same thing again.
Most poor people are not on welfare. . . I know they work. I'm a witness. They catch the early bus. They work every day. They raise other people's children. They work every day. They clean the streets. They work every day. They drive vans with cabs. They work every day. They change beds you slept in these hotels last night and can't get a union contract. They work every day . . .
When I'm working, I don't wake up and say, 'OK, time to go be intense.' I just look at whatever scenes we're working on that day and break them down - just real intense everyday work.
Most days, we don't get to the 'SNL' studio until noon. On Monday, we pitch the host, and that's our shortest, lightest day. Tuesday is our longest day - some people don't leave until Wednesday night. It's just a long, long day.
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