A Quote by Tina Smith
I want to go places where there are really well-meaning people doing work that is interesting and seems to really matter and where everybody looks like at least once a day they have a really good laugh.
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Every relationship has at least one really good day. What I mean is, no matter how sour things go, there's always that day. That day is always in your possession. That's the day you remember. You get old and you think: well, at least I had that day. It happened once. You think all the variables might just line up again. But they don't. Not always. I once talked to a woman who said, "Yeah, that's the day we had an angel around.
I think the Oscar So White campaign really sparked ... Because you didn't want to be the Oscars, so everybody in Hollywood was like, well, before the heat comes down. The Golden Globes diversified. Just everybody ended up diversifying as far as handing out awards to more diverse folks in Hollywood because at the end of the day, it doesn't matter what your race is. If you're waking up every day and you're doing the work, you deserve an opportunity to be awarded like everybody else.
Sometimes I really need the money, really need to go straight to work. But if I had the absolute choice - money no object, my mortgage paid off - I'd really just work once or twice a year - but wouldn't everybody! - or at least do a different job sometimes.
I want people to laugh with me and Paraguay and Newfoundland, but I don't want to laugh at them. I hope in my books at the end of the day you come across with the impression that I really admire both of these places.
I think the hallmark of a really good entrepreneur is that you're not really going to build one specific company. The goal - at least the way I think about entrepreneurship - is you realize one day that you can't really work for anyone else. You have to start your own thing. It almost doesn't matter what that thing is.
I don't want to get too much into my personal relationships but I will say I am actually doing the single thing right now. I want someone that I can have fun with and laugh with. I love to laugh and I'm really sarcastic, so it's important that she can take a joke. I think if you are going to be with someone for a while you really need someone you can let loose with and let go of all the stress of the day.
I think, always, with a new book, I get nervous. I think mostly it is because work is really important to me, and a book doing well is important because it buys you another one. Not because of the money but if you keep doing interesting work, work that people like, they will want you to do more, and offers that are interesting come in.
Most development doesn't make it to series. So you want the writer and director to have a really good experience with development because, if it doesn't work out, you want to work with them again. You have to know their work really well, know the drafts really well, and when you give notes, you need to have really thought them through.
In my community of minimalists, there are really wealthy people who work at stock brokerage firms, there are people who are unemployed, but it doesn't seem to matter. We're all really good friends, and we get along really well. It's a very varied and diverse community.
It makes it really hard to just go to a dinner party because, in my work life, I'm surrounded by the funniest people, ever. I'm really spoiled. I laugh a lot, in my day.
In most professions, if you stay at the office an extra four hours every day, you're gonna impress the boss. You're gonna get that promotion; you're gonna get that raise. You're gonna at least have job security. But with acting, if you're really ambitious and you have a good work ethic and are really good at your job, it might not really matter.
Mark and jay Duplass really like to improvise. Even if we beg them to go back to the script, they invariably ask us to go "off the rails," as they like to call it. It's just the way they work. You get a full written script. And it's really, really, really good, so that's why it's kind of peculiar that they always want you to improvise, because if I wrote something that good, I would want everyone to stick to the dialogue that was written.
Someone once told me: 'Luck is when opportunity meets preparation'. And that's what I really feel with my music. I've worked really, really hard on it. It was like, 'this is really what I want to do.. what do I have to do to make it work?'
The more disgruntled the white people are, the happier they are to see me, that has to be it. I do really well in Boston, I do really well in Cleveland, I do really well in Philly, Jersey, certain parts of Florida. Places where there are really really aggressive white people tend to love me.
I just like good stories. I like really interesting scripts, I love really great filmmakers. And I'm open to all genres and all stories. But, there's certain ones that attract me, and I don't really sort of look at what I think is going to be successful, I look at more so, you know, is this what I want to do regardless of what everybody else thinks?
I really want to go to Ireland. It's really green I hear and very pretty. So I'd really like to go there and spend a nice amount of time because I always travel but for like a second. I never get to enjoy the places.
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