I do all that TV stuff, and it's not real work.
I don't see coming down to London and talking to people and making TV shows as real work. The only reason I do it is because they keep coming up with decent ideas.
That's the real work, being away from my loved ones, my family, my household. There's nothing that's hurt any more than being away from my little girl and missing days, but I'm lucky.
It's when you've stopped writing and are doing other things, especially when you're asleep, that the real work is done.
A lot of people, especially comedians, just feel like, 'Oh, I can be charming and whatever, and have fun, and everybody is just going to like me.' But you've got to work. There's got to be a real work ethic that gets you better.
More people, especially young people, are realising that if they want change, they've got to go about it themselves - they can't depend on a particular person, i.e. me, to do all the work. They are less easy to fool than they used to be, they now know what's going on all over the world.
As an actor, you work to the script: that's our main priority. But you have to be aware and look around for things that help you bring that little bit extra, that touch of realism that rams the point home.
Realistically, looks offer an advantage to an actor. I'm going to work hard to maintain my skin. I'm going to prevent aging as much as possible. And I will keep trying to become a better person on the inside as much as I spruce up the outside.
I'm not a fan of reality shows, but I am a fan of people who use their brains and skills and hard work to outsmart people, not to steal someone's man or get drunk on TV.
My indie work is mostly reality-based, focused on real life and characters.
I feel like the live record thing is something that I've been getting used to as the years go by and with this being my second one, I'm continuing to learn what works and what doesn't work. A live record is an example of that authenticity and that realness that you find in imperfection and you can hear that in this record.
If the work is poor, the public taste will soon do it justice. And the author, reaping neither glory nor fortune, will learn by hard experience how to correct his mistakes.
If you stay present and don't look too far ahead - or in the rearview mirror - everything will work out.
When you work as a cinematographer, the actors look to you for reassurance. When you're lighting them, they can never think you're making an adjustment because of the way they look. If they are nervous, it impacts their performance, which impacts the story.
I didn't know, at 22, that regret is useless. If I could go back and change something - give myself some big break, pass along some secret information, reassure myself that most things would, in fact, work out - I don't think I would.
I've always had to work to feel reassured, to feel secure, and that's not nice because you don't know where you stand.
When you don't have much money, cooking can be incredibly reassuring. You feel like you're doing meaningful work.
I rejected the traditional notion of 'women's work,' but I never thought of my early ambitions in a feminist way, exactly. Primarily I rebelled against apathy and limited education. I was rejecting a whole way of life that I thought trapped everyone.
I have continued to work at different things, and rebuilt my home all by myself. I did it for the sake of satisfaction at doing something. I did it because I happened to be where I was.
Life is composed of different inventions. I have continued to work at different things and rebuilt my home all by myself. I did it for the sake of satisfaction at doing something.
