A Quote by Rush Limbaugh
My objective is to satisfy [my] audience so they come back the next day.
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I'm a perfectionist, and I very rarely satisfy myself when I come in and watch the film the next day.
If we have a good day and we win, I'll celebrate and enjoy it. If I have a bad day and I lose, I'll be disappointed and then come back the next day and think about the next team.
You lose, you smile, and you come back the next day. You win, you smile, you come back the next day.
My work is very dear to me, and certainly I have had all the emotional highs and lows that go with trying to get it to an audience. But I do have some kind of detachment that seems somewhat unusual in my trade. I'm a writer who writes every day. I don't have a period of months where I can't get anything done and I wander around tearing my hair out. When I come back from a book tour, for instance, I might have one day where I sleep late and then check my e-mail, and then go for a walk, and then the next day I'm really itching to get back at writing a story.
The first time I was in the ring, I wasn't good at it, and I honestly thought, 'Maybe this isn't for me.' Then I went back the next day and the next day and the next day... because I loved it more than anything.
One day, you have a father who's always around, and then the next day, he's gone. I was too young to comprehend that. I actually thought he was going to come back.
There's the false security of feeling a great force of love from your audience one day and then the next morning you wake up and you're exhausted, and that love is something you have to reach for the next day.
As soon as I leave the world [of the show], I want to turn around and come back. That's how real it is. As soon as I leave the theater I want to wake up and come back the next day and do it all over again. It's that much fun.
To me, the definition of focus is knowing exactly where you want to be today, next week, next month, next year, then never deviating from your plan. Once you can see, touch and feel your objective, all you have to do is pull back and put all your strength behind it, and you'll hit your target every time.
There aren't a lot of entertainment-based mediums, the visual or recorded mediums, that empower the audience to go off the next day and create it themselves. You can't watch a movie or a show and the next day say, 'I want to make that.' You have to go to school.
One day I'm lugging walls back and forth in Louisville, and the next day I'm at Cannes giving interviews next to Ben Kingsley. I'm nowhere near cynical or jaded enough not to be incredibly thrilled by that.
When you're coming up with new material, it's not always gonna be good. The only way to learn is for it not to get a laugh, so you can adjust it and come back the next day to see if it's working right. Next time, you might get a different laugh. You're constantly rebuilding.
The way you survive in the performing arts is by having a sense of your audience, and doing things which entertain and satisfy the audience, but in a more important way, cause the audience to question many things.
Grief, as I read somewhere once, is a lazy Susan. One day it is heavy and underwater, and the next day it spins and stops at loud and rageful, and the next day at wounded keening, and the next day numbness, silence.
I'm sure if I continue to do my work maybe good things will come in the future but for me the most important thing is always the next day, the next training and the next match.
I'd reached the point at West Brom where I'd play well, score goals, set up goals and nothing would come from it. I'd go home, come back the next day and everything would be the same. No reward, no response.
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