Jobs Quotes - Page 457

The hats are tough. I've got a weird head, so believe me, there were a lot of hats. Penny [Rose], our costume designer, who I knew from other jobs said, "Badge, that looks terrible on you. Hold on. No, we can't do that one."

It was dirty and hot, and you're on a horse, all day. It was physical work, but there wasn't one of us - cast or crew - who didn't have a smile on our face. Even when it got real hard and tempers would rise because things would get difficult and the day would get late, we all loved the job and loved doing it. When you finished that day of work, everyone was looking around and going, "Yeah, that was a good day, man."

A professional is a man who can do his job when he doesn't feel like it. An amateur is a man who can't do his job when he does feel like it.

Just because I'm a murdering, thieving, cowardly, traitorous sort doesn't mean I can't do my job properly.

[The church's] job is to provide permanent solace and spiritual leadership to the people as a whole, whatever their government at the moment, so long as it stays within the bounds of moral decency.

Gone are the days in America where we're able to graduate from High School and perhaps eventually get a job that pays $100,000, that barrier has been put up. If you want to work at McDonald's, where is your degree?

My day job is acting - I wouldn't direct something if I didn't feel passionate about it.

I had a lot of bad jobs but the one big internship I had is I interned for 'SNL' when I was 21 years old and that was the joke. You intern there and you think man, I'm going to be with the writers and the great comedians. Then you're getting everybody sandwiches and then the doors close and then all the great creatives are doing the work.

In L.A., if you're in improv, and you're on those stages, all the big agents and managers and producers are watching those shows. They're not flying to Chicago to see the show. People are booking jobs off the stages in L.A. who aren't more talented than the guys in Chicago. But the most guys book out of L.A., and the second is New York.

Sometimes, when you work with directors who have done it a lot and are established in the business and know the game, there are all these rules that they have. First-time directors will allow you to come in with choices. They're not so jaded by actors that they're like, 'Ugh, just do your job, man.

I'm a grinding actor. That's how I've always viewed myself. You go from one job to the next.

I aspired to be a writer and then I just started getting acting work. I really didn't have a direct goal, I just knew I wanted to be in this industry telling stories and doing this for a job. I thought my path was going to be as a writer, but I'm pretty happy doing it as an actor.

My first pilot gig; in fact my first job in television; was 'Freaks and Geeks,' and the experience of directing that pilot was probably the single most formative of my directing life.

I walk around thinking job to job, trying to not have regrets.

When somebody's really good, they're not just thinking about their job.

The amount of preparation I saw from someone like [David] Fincher, and how aware he is of everybody else's job on the set, and how much respect he has for every aspect of the film, and every aspect of the frame - that's the type of actor I am now; it's not the type of actor I was then. But without understanding his process, and then coming to learn it later on, I would never be the actor I am now.

Working with Robert, Robert [Elswit] is a storyteller. He's not a cinematographer, he's a storyteller. And to me, that's the graduation I hope to get to in my profession. That I'm not just an actor, I'm a storyteller. And I think that takes a long time in, when you have one job on a movie set. Makeup artists, actor, whatever. To graduate from just that to storyteller.

I don't know anyone who has described that terrible yearning for ecstasy and immolation through music as lucidly as Sean Madigan Hoen in Songs Only You Know. Only a thorough initiate of the scene who also had some genius with language could summon the demotic yet electric voice for the job. If there is ruefulness, now, for the way he treated his body, his girlfriends, and his family, he wisely reprises in his book, in neon detail, the fever that once placed him in the same drunken boat with Iggy Pop, Rimbaud and Artaud.

I was 18 when I got my first acting job.

It's great to have guys that can help you out there with you, with everybody wanting the same goal. That's the key, playing with other guys that want to win and everybody doing the same. That's the job right there.

I'm not here to - as a parent, I believe we are specifically here to help our children mature in the way that they can take on their own lives. I'm not here to live their lives for them. That's not my job.

Cool? Am I cool? I don't know, but I hope my characters are cool, in the sense of iconic. That's my job, at its very essence.

On the one hand, I loved being a banker. I loved how numbers could tell a story and how you can invest in ideas and see them translate into products and services and create jobs. What I didn't like, particularly where I was working in Brazil during the debt crisis of the early '80s, was how the poor were excluded from the banking system. I made the decision to try and experiment with whether we could use the tools of banking to extend the benefits of the economy to the poor.

I wanted to go to acting school, and I did a few modeling jobs to pay for acting school. I never aspired to be a model. I met lots of photographers, and I learned a lot about light - as a source of love and illumination, light as a gift of love. On film, that's a massive contribution.

You can't rely on the approval of others. I used to always look for praise from my directors to reassure myself that I was doing a good job. I don't do that anymore.