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Any work you do, do it the best you can and achieve the maximum result.
A lot of people thought I wasn't doing anything because I was spending a lot of time socialising and going out, but I've always managed to get work actually done.
If your friend is critical [of your work], you have to have a very thick skin and a thick skin is something that only builds up after it's callused for awhile.
I feel like doing theatre helps my on-camera work and my on-camera work kind of helps my theatre work. So I love to be able to bounce through the mediums.
You rarely get satisfaction sitting in an easy chair. If you work in a garden on the other hand, and it yields beautiful tomatoes, that's a good feeling.
There's a sense of knowing when to stop and take a break from things, to step back from the work you're making, and of changing things up to keep them interesting for yourself.
College is like a woman: you work so hard to get in, and nine months later you wish you'd never come. We used to say if a frog had side pockets, he'd carry a handgun.
Start-ups like UniversityNow, a network of low-cost, online colleges, allows students to work at their own pace and pay a few hundred dollars a month for a degree.
My big philosophy is: Try and work with good people, because the process is your life. That's going to be really, really hard. I'm glad I learned the lesson, 'Failure is OK.
The idea that because the school day is shorter or the school year is shorter than the sort of white collar workday or work year, that does not actually capture how teachers spend their time.
If haters or whatever want to find you - I mean, some of them are so tenacious. You want to hire them to work for you. Theyre very, very savvy in terms of how they find you and get to you.
I’ve discovered that my best work comes from the uncomfortable but fruitful feeling of not having a clue – of being worried, secretly afraid, even convinced that I’m on the wrong track.
I'm a believer in the benefits of translation. It's a necessity and a privilege - it would be awful to be limited to reading authors who's work was composed in the languages I happen to have learned.
I try to only work on the screenplays for a few hours a day when I'm in my most voluble mood, just sort of writing whatever comes into my head. It's a very freeing thing.
You need to be, like, turning down high-paying illustration work because you want to work on your comic. That's when you know you're doing something good.
I can look at my early work and see what a pained struggle it was to draw what I was drawing. I was trying so hard to get this specific look that was in my head, and always falling short.