A Quote by Stana Katic
Regardless of any experiences in the past, for me it really is important to be engrossed in as much of the creative process as I possibly can. I was surprised with how much the eight years I spent on 'Castle' actually serviced that. I ended up, in a way, having a free education on that show.
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How much courage does it take to fire up your tractor and plow under a crop you spent six or seven years growing? How much courage to go on and do that after you've spent all that time finding out how to prepare the soil and when to plant and how much to water and when to reap? How much to just say, "I have to quit these peas. Peas are no good for me, I better try corn or beans.
We usually evaluate creative process in terms of how much feeling or thinking was behind the work or how well the work was done. Isn't there any other way of appreciating the process? What if the standard of excellence was how fully present the artist was during the process?
Every year, the average American eats as much as 33 pounds of cheese. That's up to 60,000 calories and 3,100 grams of saturated fat. So why do we eat so much cheese? Mainly it's because the government is in cahoots with the processed food industry. And instead of responding in earnest to the health crisis, they've spent the past 30 years getting people to eat more. This is the story of how we ended up doing just that.
To me, it's simple: if you've got the time, use it to get ready. What else could you possibly have to do that's more important? Yes, maybe you'll learn how to do a few things you'll never wind up actually needing to do, but that's a much better problem to have than needing to do something and having no clue where to start.
Support is really important to me. It's quite a responsibility when people are paying for tickets. I've spent ten years playing for free, now it's like, bloody hell people are spending a tenner and I want it to be a great show and I really don't subscribe to having a crap support band.
Having an open dialogue, in any creative atmosphere, is really important to feeling free to tell the story the best way you can.
I think caring too much about the economics starts affecting the creative aspect of the film. That is a dangerous process for a filmmaker. He should make his film without having to worry about how much it has cost or how much it will be sold for.
I posted chapters online and let people give feedback, and I was surprised at how much of that feedback I actually used for the book.I posted chapters online and let people give feedback, and I was surprised at how much of that feedback I actually used for the book. It was a different process for me, but I liked it.
One of the beautiful things about having kids is I had no idea how much it will make you look into yourself and who you are and what you believe in and what your past was like and all that kind of stuff. I think it's made me really look at life in a much more intense way.
I assumed just from being around, all these years, that people would immediately glom on to, Well, it's a departure, and it's a dystopian kind of thing, and that's natural, of course. But it's surprised me - not even surprised me, but it's pleased me - how much people have been responding to the way the book was written.
I have been fully involved in designing my stage shows; it's important to me to do something really unique and almost off-the-wall to bring the music and the visuals together. I love design and actually went to school for a bit for graphic design, so it isn't so much 'pressure' for me; it's a way to be creative, and I really enjoy it.
I have spent too much of my life opening doors for cats—I once calculated that, since the dawn of civilization, nine hundred and seventy-eight man-centuries have been used up that way. I could show you figures.
My experiences growing up - my father lived in New York, so I was going out there in the summers and meeting really interesting people and people having what seemed to me to be extraordinary experiences and really taking advantage of these wonderful opportunities. And so I will go - I would go to the big city and watch these people performing onstage and doing television and films. And then I would go back to Hayward, and it just suddenly felt that much smaller and sort of limiting because I had this hyper awareness of how much larger the world was.
Some of this book—perhaps too much—has been about how I learned to do it. Much of it has been about how you can do it better. The rest of it—and perhaps the best of it—is a permission slip: you can, you should, and if you're brave enough to start, you will. Writing is magic, as much the water of life as any other creative art. The water is free. So drink. Drink and be filled up.
You can show up at Everest having never really climbed before, because it's like hiking, basically. You can't show up on Meru and start up the thing unless you have years and years of experience. Climbing and spending time on the mountains is really the only way you can train.
A few years ago it dawned on me that everybody past a certain age - regardless of how they look on the outside - pretty much constantly dreams of being able to escape from their lives.
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