A Quote by Giovani Bernard

I think the biggest thing for me now is that I have a better understanding of what to expect as far as things go and the scheduling. Your first year is a little crazy because you are preparing for the draft and don't know where you will be playing.
I've gotten very good at scheduling my life, scheduling the scene and preparing myself for knowing, saving the energy, consuming the energy, knowing when to go for it and having the available reserves to be able to do that. You have to think about that, because it's endurance.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
But as far as, for I think it will be amazing you know where I find myself years from now because of this film. It's just amazing, I think everybody's going to kind of know this film and because of it, me. So I you know it's crazy.
I am a technophile, so there is no such thing as a first draft. The first draft plunges on, and about a quarter of the way through it I realise I'm doing things wrong, so I start rewriting it. What you call the first draft becomes rather like a caterpillar; it is progressing fairly slowly, but there is movement up and down its whole length, the whole story is being changed. I call this draft zero, telling myself how the story is supposed to go.
I call myself good crazy because I am a crazy normal. But who is normal really? Are you normal? Maybe you are, but I don't think a lot of us are normal. I think a lot of us are scared to say that we are a little crazy. I'm a little crazy that is just the way it is. I look in the mirror now and I like who is looking back at me. I am comfortable in my skin for the first time in my life. I have let a wall down.
Yes, the first draft is the key. That's why I put so much energy, focus, and attention on the first draft, because I respect that first go at the story. If I don't have the key in that first draft, I invariably won't get it in subsequent drafts, though I can craft around it.
I want to be better every year, just like everyone else does. From what I learned from last year, I feel a lot more comfortable. I know the game and how it goes up here. You get in certain situations the first time, you really don't know what to expect. Now that I've been in them-and I've been in every situation possible last year-there's nothing new to come at me.
Every city is different for playing, actually. That's one of the hardest things: to play abroad. Because sometimes you know your city and your audience and you know what to play and what people will dance to. And later, you go to a place and you think this thing will work and you start playing and it doesn't work, and you have to be able to go to another side just to try to find what people like or whatever, or, like, try to make people dance as they are more used to. I don't know, it's quite strange - people dance in different parts of Europe in a different way.
First draft: let it run. Turn all the knobs up to 11. Second draft: hell. Cut it down and cut it into shape. Third draft: comb its nose and blow its hair. I usually find that most of the book will have handed itself to me on that first draft.
Realization that i couldn't be a ballet dancer was a blessing in disguise because that was the first time I felt like I stepped into adulthood. I realized, Okay, this is not going to work out. It was frustrating for about a year because I didn't know what to do with the creativity and the discipline that dancing had instilled in me from a very young age. But then I moved to Paris to model, and that was my cultural awakening. Now, I think dancing has been the biggest thing in my life, much more so than modeling, and it still helps me enormously in my work.
I think what's so great about making your first feature film is that you're so naive in some ways; you don't know what to expect, and you don't question things as much because you're just trying to figure it out as you go.
You don't realize how long that NFL season is. It's a long season, especially in your first year. Not only do you spend a lot of time preparing for the draft and working out, but they you have OTAs, minicamps, training camp, preseason games. By the time you get to week six you've already had one of the longest years of your football life and you still have 11 weeks to go, plus the playoffs.
Writing the first draft of a new story is incredibly difficult for me. I will happily do revisions, because once I can see the words on the page, I can go about ripping them up and moving scenes around. A blank page, though? Terrifying. I'm always angsty when I'm working my way through a first draft.
Most people would say safety was my best position. To me, the biggest challenge and most gratifying thing I got out of playing football was playing corner, because it was a bigger challenge than playing safety. Playing corner provided me my biggest thrills and my biggest headaches.
You push so far past the normal boundaries of what’s O.K. in society. I’m always fully aware of, ‘You can’t do this’… When someone really believes in what they’re saying, but it’s crazy, it’s like my favorite thing on earth… [But] Crazy’s just crazy and there’s nowhere to go. You can have a point of view, it can be very strange, but we have to know your reasoning.
I see myself as a first-draft writer, so when I sit down to write something, the first draft is usually pretty close to the end draft. There will be some tweaks along the way, but it's not like I'll go 20 pages and throw it out and start again.
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