A Quote by Timothee Chalamet

On American sets, you work 12-, 14-, 16-hour days sometimes. All that volume over a short course of time can actually be less conducive to telling a story accurately. — © Timothee Chalamet
On American sets, you work 12-, 14-, 16-hour days sometimes. All that volume over a short course of time can actually be less conducive to telling a story accurately.
I remember telling my dad, 'I'm working 14- to 16-hour days and I don't care. I can't wait to get back to work.'
Acting is completely different from the standup world. You have these 12- or 14-hour days, but you have a great time doing it. It's like hanging out with your friends.
It's not so much less pressure, it's less work, which is really exciting to me. I'm just personally looking forward to being able to spend a little more time doing different things, so that's really great. Jay and I are writing a book this year which is really fun and so yeah, I am very excited to spend less crazy 12-hour days on set. Those were taxing times.
There are some times when you make films and you travel places, and the take that people in the business have is that the worst way to see a city is to shoot there, because you work these long 12, 13 and 14-hour days, and you go home to the hotel, you eat, and you pass out.
A lot of people are like, "Oh, it's so much easier to be a supermodel now because you have Instagram. You don't even need an agency anymore." But that's just not true. I still had to go to all the castings, I still had to go meet all the photographers, I still had to do all of that to get to where I am now. There wasn't a step taken out just because I had social media. I still have 12-hour days, I still have even 24-hour days sometimes; I still have to do all those things. We don't work any less hard than the '90s models did when they were young.
I never worked less than 16-hour days on South Beach.
I usually work 16-hour days.
The fact is that daytime television is less valued than nighttime, and its partly because of the product that we produce. We do a one-hour show in 12 hours. Nighttime produces a one-hour show in seven to nine days.
The fact is that daytime television is less valued than nighttime, and it's partly because of the product that we produce. We do a one-hour show in 12 hours. Nighttime produces a one-hour show in seven to nine days.
There were something like 50 good, arduous climbs around Nice, solid inclines of ten miles or more. The trick was not to climb every once in awhile, but to climb repeatedly. I would do three different climbs in one day, over the course of a six- or seven-hour ride. A 12 mile climb took about an hour, so that tells you what my days were like.
When I was in the studio with Madonna, we would work 12-hour days. If you want to work with the best, then that's what you have to do.
In March of 2001, I revisited the short story, and found that thought it did not work well as a short story, it might work much better as a longer one. The novel [The Kite Runner] came about as an expansion of that original, unpublished short story.
For a short-story writer, a story is the combination of what the writer supposed the story would likely be about - plus what actually turned up in the course of writing.
Apart from two periods of intense study, of music between the ages of 12 and 14 and of mathematics between the ages of 14 and 16, I coasted, daydreaming, through most of my school years.
I often work 14-hour days, but the job is very fulfilling. I love being my own boss.
If you had to work 14 hour days, Mondays to Fridays, then you have to keep Saturdays and Sundays sacred.
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