A Quote by Richard Ben Cramer

When you're working on a project that's going to take six years, you're weird from the jump. — © Richard Ben Cramer
When you're working on a project that's going to take six years, you're weird from the jump.
I never thought that it would take me so long to do something. I thought everything was temporary and sometimes the best thing you have working in your favor is a bad sense of time. In order to sit down and write a book that takes six years you have to have a screwed up sense of time because that's too daunting. No one is going to pick up a pen and a piece of paper and say, "Okay, six years, here we go."
I was approached to do something for seven years, and it was a quality project. I did seriously think about it, but I didn't want to be away for six months of the year. I've never done the L.A. thing where you go and have loads of meetings; I can't say to my wife, 'I'm going to wait by a pool for six months.'
I used to take my car and go down to the South Island for five or six days and climb glaciers and jump out of planes and jump off bridges and go white water rafting - a bit of thrill-seeking.
After six years of working on low-budget independent films of the too-weird-to-watch variety, being asked by DreamWorks to come and play with the big boys, it was like finding an unicorn in your sock drawer.
Very much as men project weird fantasies on women, the people in New York project weird fantasies on California.
I guess confidence is the only thing that I take from project to project, but I'm always open to learning everybody's style - the director, the actor I'm working with.
I'm narrating the television series Biography. I'm still involved in my music - I have a new album out. I have an animated project in development. I'm writing a lot of things and you never know if one of them is going to become a six or seven year project.
For me, every day is a new thing. I approach each project with a new insecurity, almost like the first project I ever did. And I get the sweats. I go in and start working, I'm not sure where I'm going. If I knew where I was going I wouldn't do it.
I've been making music for thirty-six years and, you know, I'm still just as in love with working on music now as I was thirty-six years ago.
I approach each project with a new insecurity, almost like the first project I ever did, and I get the sweats, I go in and start working, I'm not sure where I'm going.
I have the attention span of a 2-year-old. I like to jump from project-to-project.
The too-big-to-fail reform project is massive in scope. In my view, it holds real promise. But the project will take years to complete. Success is not assured.
All I'm doing is photographing. When I was working on The Animals, I was working on a lot of other things too. I kept going to the zoo because things were going on in certain pictures. It wasn't a project.
Passion is so contagious. When you're working on a project where people care, on every level, from the key grips to the main writer to the star of the show, you can't help but want to jump on board and create something.
My knee is as strong as it was before, if not stronger, and it's a matter of getting my leg strong. I lost six years of strength in about six month's time, so it's going to take another year or two to get that leg back up to full strength, but I'm good to go so far.
During the summer of 1963 between my junior and senior years, I began a research project on hypothermia in the Department of Surgery with Sidney Wolfson. I quickly became fascinated by the project and continued working on it throughout my senior year.
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