A Quote by Robert Carlyle

I've never been good at accepting jobs six months down the line. I can't do it. If I'm thinking about this, I can't think about that. So I always seem to fly by the seat of my pants.
The good thing about the Anvil school of filmmaking was that it was fly by the seat of your pants. There was no safety net.
I always write on unlined typing paper and write the first draft in longhand, using cheap Bic pens. I try to write about four pages a day, which usually yields a first draft in six months. I don't plot ahead of time, so I'm flying by the seat of my pants for the first draft.
I'm sometimes described as a flamboyant leader and a hip-shooter, a fly-by-the-seat-of-the-pants operator. But if that were true, I could never have been successful in this business.
The good thing about being an actress is that it's very children-friendly. I can work for three months and then I can have six months off. And then I can work for six months and have six months off.
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.'
When I'm filming I feel guilty about never seeing the children, but when I've not been working for six months I begin to think: 'Who am I?'
I'm definitely someone who likes to fly by the seat of her pants. My mum always prays for the best.
I tell you, I've always been quite physical about acting. I've always felt about for the shape of someone or the deportment, for better or worse. Sometimes I think I've done it disastrously, and other times, when I'm not thinking about it so much, less disastrously, but I can't seem to control it much.
You have to be a well-rounded leader. You can't fly by the seat of your pants anymore. You have to be incredibly tough-minded about standards of performance, but you also have to be incredibly tenderhearted with the people you're working with.
When you make a choice as a writer about what it is you want to write, and what it is you're going to spend six months thinking about, you have to fall in love.
You know in cartoons, the way someone can run off a cliff and they're fine, they don't fall down until they look down? My mom always said that was the secret of life. Never look down. But it's more than that. It's not just about looking. It's about never realizing that you're in the middle of the air and you don't know how to fly.
I fly from the seat of my pants, basically.
When I made the decision to go to Europe, a lot of people questioned it. The first six months I was there even I was questioning it, but I think I learned a lot more about myself in that six months than I have my whole life.
I usually think about a play anywhere from six months to a year and a half before I sit down to write it out.
It's so easy to go the route of thinking about all the situations we've seen and they hurt us all deeply, but I think it's also a time to make sure we rally around the good policemen in our society that do their jobs every day, put their lives on the line.
I think the great thing about working for Marvel is no matter who is in the driver's seat, they seem to be making good stuff.
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