A Quote by Venus Williams
The thing about tennis is if you stay off for two weeks, or just for three days, you can lose your rhythm quickly. So it's just a question of constant diligence and vigilance.
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I don't just hop in the car. I have destinations. I drive to relax. I'll be gone for two weeks, hit four or five major cities. I don't like being nowhere for more than two or three days. I just go. I don't have a schedule.
I find it so hard to lose weight: it takes me weeks and weeks of dieting and training just to lose three pounds.
Yeah, about sixteen to twenty weeks a year. For example, we can do America in six or seven weeks. You can do Europe in three weeks; England in two weeks. South America you could do in three weeks; Asia you could do in three weeks.
The negative about acting is that you have to spend a great deal of time away from your friends and loved ones, but it's not like working a 9-5 job and only having two or three weeks off a year. I may not have seen my girlfriend for two or three months, but then we can spend two or three months together solidly.
I have six racquets and usually two pairs of tennis shoes with me. Most of the time, the shoes can last two or three weeks if I'm playing all the week. I'm not the kind of player who slides a lot, so I just need one extra pair in my bag.
Just because you have kids doesn't mean to say you need time off. I have a lot of time off anyway. If I'm promoting my book, like, for the next two weeks, I'm flat out. But then I'm off again. And when you've got the next product, it's the same; you just condense it into a couple of weeks.
As a writer, I can't really take days off. Writing is like creating an art. Once you stop writing, you can lose your rhythm and context, meaning that your writing may lose its power.
One day I was complaining to Bill Coltrin about what I thought was an unfair article about our team. I was going to call the writer and complain to him. Bill told me, "If you plan to stay in this business (coaching), you need to realize a couple of things about the press. One, whatever is written, it will probably be forgotten in two or three days by the public; and two, if you complain or make an enemy of the writer, just remember you may have your 'day in the sun,' but he/she is going to press 365 days a year." I have never forgotten that.
I love getting the pontoon boat out, and I don't get to do it as much anymore. If I know in two weeks or a month from now I've got three days off, I can start planning for that stuff, getting out there with friends and family and relaxing, just floating around and hanging out.
I try not to write more than two or three, I try to just write one if possible, I write till the end at least a draft of a play or a novel; but sometimes, I'll take a break for a couple weeks for a project that is paying me money like a television project which I try to stay away from just to stay financially ahead of the game.
I'll often get obsessed with something for about three days, and I'll be utterly into it, and I'll read every single thing about it possible. And then three days later, I'll just forget about it, and I'll be onto something else.
The cool thing about writing is that there is really never a typical day. Sometimes I get a rhythm going and head off to work every morning and come home at night. Sometimes I'll write for two days straight and then be utterly blank for the next two.
People in tennis, they've been in a certain bubble for so long they don't even know who they are, because obviously it's just been tennis, tennis, tennis. And let it be just tennis, tennis, tennis. Be locked into that. But when tennis is done, then what? It's kinda like: Let's enjoy being great at the sport.
The fact is that, unless you are very good, most first movies are too long, and you lose your rhythm and your audience over two or three hours.
The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.
And the whole Oscar thing, that is just surreal: you spend months and months doing promotion, and then come back to reality with this golden thing in your hands. You put it in the office and then you just have to look at it sitting on the shelf. And, after about two weeks, you go: 'What is that doing there?'
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