Regularity is a key: going to bed at the same time, waking up at the same time no matter what. But I think, also, it's not just about quantity - that's what we've been discovering. It's also about quality.
Because you can't write habitually and well all the time, you have to be willing to write badly. That's how you get the regularity that enables you to be present for the good stuff.
As we regularly spend time reading God's Word and talking to Him in prayer, we put ourselves in position for Him to do things in our lives we could never do on our own.
My stand-up is quite good now, people say. It's just like a big conversation each time. Every gig is a rehearsal.
Every time we go to sleep, it's a rehearsal of the day when our eyes will ultimately close and we wake up on the side of eternity.
Any rehearsal process - I find, anyway - does have quite an effect on me, and I very much live in that world for the whole period of time that I'm involved with the production. But normally, afterwards with a little bit of space, I can come right back out of it again.
I love that feeling. I guess I love escaping my life, really. I love going into another world and feeling for this amount of time that this is it, this is the world I'm going to live in. You feel it more during the rehearsal process.
'Grease' was my Broadway debut. That was eye-opening. At the same time, it was very familiar. It was a Broadway show, but it's kind of the same as doing a show in Minnesota. It's the same type of rehearsal process. You are doing 8 shows a week, but I worked at a theatre in Minnesota that did 11 shows a week.
I mean, a lot of time rehearsals are taken up with other things other than preparing a character.
We had to do a lot of rehearsals to get it so that it was playable. What it did was make you practice. That's good for any musician to have that kind of pressure. It brings things out of you that might not come out if you don't have to reach for something all the time.
Definitely as an actor, the experience you have, at least I'm talking for me, my experience as an actor is you go to the set and know what you're going to do, know your lines, you rehearse, you do your scene, you go back home. As a producer, for the first time I saw the whole picture in a completely different way.
I rehearsed 50. I kind of stared at it a long time. I wasn't going to let it terrify me.
'Full House' was the first time I had ever been in front of a live audience. I said a line I had rehearsed with my mom, and they laughed. It was wild. To have that energy of the live audience was like, Whaaat? Feeding off that live audience was, to a 4 or 5 year old, a high.
Music is what I do pretty much all the time. I'm always in the studio. I'm always rehearsing for shows. Always doing shows.
The external appearance of any construction projects that are created during the time of the National Socialist Reich must take on the sensibility of our time.
Obviously, any living musician born after 1960 has been touched by rock and roll. It's the music of our time, and it's 'in the air,' as Steve Reich would say. My experience of it is just really direct because I'm actually playing in a collaborative band.
The bohemian life that reigned in Paris until the end of the '50s is gone. The artists had more time to think, to reflect; success didn't come so suddenly.
I have too much product, and I'm trying to rein it in and sell more of my main collection. I wish you didn't have to design so often; it would be good if you could keep on selling the same things for a few years and not have to do new things all the time.
I can be a bit extreme. I'll spend too much time running round the park, doing yoga and drinking green tea. I can get a bit obsessive. I have to rein it in sometimes.
I liked the game, I enjoyed the game, and the game fed me enough, and gave me enough rewards to reinforce that this is something that I should spend time doing, and that I could possibly make a priority in my life, versus other sports.
