Quotes of All Topics . Occasions . Authors
One piece of advice I often give young singers, including my son Vijay, is to not get sidetracked from their primary duty of learning music. This is the age of marketing and hard sell. Everybody wants instant results. But no amount of hard sell will prop you up if you don't hone your craft.
I think one of the most important lessons that I've learned is to put your head down and work. Don't look at other people and compare yourself. Just do the work. Because when the opportunity is there, you have to be ready. Make sure your craft is refined and you're constantly working on it.
There are as many routes to writing success as there are writers who got there. My advice, however, applies across the board: read widely, learn the craft by whatever means you can - workshops and writing programs are ideal, but even self-study can work - apply what you learn, and persevere.
I always say to every actor, and to people that want to get into this industry, to just try to be on set as much as you can, try to go to acting class, and try to work on your craft because there's nothing that can prepare you, like just when you get thrown onto a set and you've got to work.
More and more, I enjoy hearing people who are good at their instruments and who've found a distinctive voice. In death metal, a lot of guys are Eddie Van Halen disciples, but they take his style to really expressionistic places. It's a real pleasure for me to hear people pushing their craft.
If a writer is to tell his own story - tell it slowly, and as if it were a story about other people - if he is to feel the power of the story rise up inside him, if he is to sit down at a table and patiently give himself over to this art - this craft - he must first have been given some hope.
The person whose work introduced me to the craft was Lorraine Hansberry. The person who taught me to love the craft was Tennessee Williams. The person who really taught me the power of the craft was August Wilson, and the person who taught me the political heft of the craft was Arthur Miller.
Sustaining a narrative in sentences and paragraphs is very different from songwriting. But the dedication to the craft and just the endurance that it takes, you know, to stick with it and believe you can pull it out and make it real and finish it, I learned that a long time ago writing songs.
I learned my business in the theater and in television, particularly working with the actors. You can learn much more in the theater than directing a movie, because then you have no time when you are shooting a movie to really work with the actors. You have to learn this craft somewhere else.
Records have never really been my strong suit. I've always been a much better live act. I didn't understand the language of the studio. You sing differently in a studio. The language, the craft - it's just a whole different deal. I avoided the problem on my first record by doing a live album.
My aspirations were never anything other than I really, really admired certain singers over the years, and I just wanted to do the best I could. And that has been kind of like the way I've been fortunate enough to be able to have a career, have some success, and yet continue to learn my craft.
I don't think people really understood what I did. And you know, in my book, 'A Helluva High Note' deals with my back story, that I was a songwriter, that I spent years trying to hone my craft and being rejected and then finally becoming a successful songwriter, record executive and publisher.
Acting is a craft to me: I just think you get better the more you do it. And then the irony to that is your doing it is not in your control. If it was up to most actors, we'd work all the time, and we'd always get better. But it's not in our control, so we have to wait to be given parts to do.
At some point in time, you definitely have to go drama. Not to say that you're going drama just because everybody else does it. You do it to challenge yourself. You do it because, naturally, in the profession of acting, you want to show growth. You want to say that you take the craft seriously.
Ever since I did 'Hamilton' I'm really specific with the projects that I choose and the characters I choose and how they're portrayed. I was meaningful with my craft before, but I think after doing something that can change people, the direction in how I go within this business has changed too.
I think it's a shame when you come across young actors and musicians who haven't had the time to learn their craft. It doesn't matter if it's acting or music; you really have to learn how to do it from the bottom up because unless you have a great work ethic... fame is a terrible thing to have.
Social media is a giant distraction to the ultimate aim, which is honing your craft as a songwriter. There are people who are exceptional at it, however, and if you can do both things, then that's fantastic, but if you are a writer, the time is better spent on a clever lyric than a clever tweet.
It helps immerse yourself in what you potentially want to do. Being involved, learning firsthand and observing the craft and absorbing all you can, makes it easier to define what you want. It will also ultimately make you a better Chef. Culinary school, or even a single class, is a great bet too.
Before, I used to just make songs all day and now, with so much business and other things that I have in my personal life, I don't have time to sit around and make songs like I used to. I wish I did. I wish I could practice on my craft all day and just be in the studio like I feel Lil Wayne does.
We do not need a heavy theoretical thumb on the scales. What's important is how the traditional sources of law and legal interpretation - text, structure, history, canons of interpretation, precedent, and other well-established tools of the judicial craft - are prioritized, weighted, and applied.
I have always been averse to theorizing about the art or craft of biography. Like Disraeli's biographer, Lord Blake, who offers the cautionary analogy of the biographical centipede unsure of her next step because of too much cerebration, I have made it my practice to let the facts find the theory.
For millions, Roger Ebert will be remembered as a writer and television personality who brought a sense of passion and excellence to his craft. For me, he is a man who fused joy and courage as few others ever have. My life was enriched by having such a friend; it is poorer for losing such a friend.
I've been doing some acting, writing classes, and taking a holistic approach so I can actually be good at this craft. But ideally I'd eventually want to get my own show and make my 'Atlanta' or my 'Master of None' - whatever that would look like - in whatever media landscape that would best suit it.
I'm baffled when young actors aren't familiar with current film, television and theater, or aren't interested in older films or plays and the history of the craft in general. If you don't know what's out there, and what came before, then how can you picture yourself working, and how can anyone else?
The craft of writing is all the stuff that you can learn through school; go to workshops and read books. Learn characterization, plot and dialogue and pacing and word choice and point of view. Then there's also the art of it which is sort of the unknown, the inspiration, the stuff that is noncerebral.
I think the reason for my fascination with craft is what it represents, what it means in our culture, what it means in our history and in humanity. It was the idea that you could go to your butcher to get something, you could go to your tailor to get this, and you could go to your cobbler to get that.
I think that I had read so much fiction that the craft itself sort of sank into me. I didn't read any 'how to' books or attend any popular-fiction-writing classes or have a critique group. For many years into my writing, I didn't even know another author. For me, a lot of reading was the best teacher.
It takes stamina to get up like an athlete every single night, seven to eight performances a week, 20 weeks in a row. And there are many young performers who only learn their craft in the two minute bits it takes to film a scene. You never learn the arc of storytelling, the arc of a character that way.
On the craft level, writing for children is not so different from writing for adults. You still have to have a story that moves forward. You still have to have the tools of the trade down. The difference arises in the knowledge of who you're writing for. This isn't necessary true of writing for adults.
Long before social media existed, the proto-tweets of advertising had penetrated American popular culture: 'A mind is a terrible thing to waste.' 'Where's the beef?' 'A diamond is forever.' 'Think different.' You'd be hard pressed to find a writer's craft that has more directly influenced the vernacular.
My plan was I just knew, I think the first time I was in a high school play, and I liked the feeling of that. Getting on the stage and entertaining and audience. Eventually, I went to New York and studied my craft, and I was in school for two years in the same class with Joanne Woodward and Steve McQueen.
I learn an amazing amount from watching television and movies because if you watch things that really work and don't work, it teaches you so much about what you do for your own craft. I think that if you're auditioning for a show, you need to know the world of the show, or you can't represent it very well.
I'm British; I live here, and I've always made my films here. And we're on a journey in British filmmaking right now. We're attracting big films again. 'Star Wars' filming here will employ thousands of people. We're world-class in so many of the craft elements, and the vibrancy of our filmmaking is strong.
At some point, all comics have to go out and be retail salesmen doing door-to-door. And this idea of somebody who totally knows their craft having to get up for free in front of a crowd to work out some stuff they're thinking in their head, still, after as much success as you can get, is really interesting.
My father would take me to auditions and put me in the room right in the corner because he was watching me; he couldn't get a babysitter. He'd be at the Nuyorican Poets Cafe in the LES until four in the morning, trying to tell his story and using his craft, but because he had a kid that didn't let him stop.
I think the first thing is don't give up. If you love the craft. If you love being a detective and discovering who a character is and the detail of how they walk and what kind of shoes they wear and what did they do yesterday and what's important to them. I definitely advise actors to learn about the craft.
My entire life, I've always known that I wanted to be a performer, but I didn't know exactly how, where or when. I never learned or studied the craft, formally. I grew up doing martial arts and playing piano. But, something inside of me always said that I was going to do this, as far back as I can remember.
I was a contestant on 'The Apprentice: Martha Stewart' and more than her telling me I learned from her that authenticity is key. She had a huge issue with a contestant using the phrase 'fake it 'til you make it' and fired her that same episode. She taught me that you can't fake being a master of your craft.
In general, for me, a big thing in my life has been just sort of learning what true self-esteem is and what true positive self-image is. And being a dancer, and growing up in that world, you're so focused on yourself, and you're so focused on achieving goals, on finding perfection, and working on your craft.
I went to drama school for four years at Carnegie Mellon, conservatory training before television comedy. I was doing Shakespeare and Chekov plays. It's about delivering on the promise of a $100,000 education and taking the shackles off and trying the hand at my craft. I'm thrilled with what I've seen so far.
After 'The Hobbit,' I have no idea if things will change. I suspect if I still want to act I will have to put in the hard yards, not rest on my laurels. A lot of it is right place, right time, but I enjoy the challenge, constantly refining my craft, not taking it too seriously but never taking it for granted.
In England, when we're at drama school, we spend a lot of time learning the craft from playwrights and stage actors, who are very well trained in the basics of acting because they need to get it right the first time - you can't have second or third takes when you're in front of a live audience, unlike in film.
See, the thing that bothers me with young actors, young actors of color specifically, is that they see movies and television, and they figure that's all it is to it. They have no respect for the craft. They want to be, you know, movie stars or whatever. And I worry that we're losing a certain quality, you know?
My advice to an aspiring actor would be to never stop learning or working for what you want. Nothing comes easy, ever, if you want something, you have to work for it. By working for it I mean work on your craft, learn from people who have something to teach. It's just like anything else, practice makes perfect.
I take my craft seriously, of course, but I don't feel the need to always play a certain character or a certain part or persona. I'm not going to cut something out of my life because it's not 'my image.' I want to be open enough that if I love something, I can do it, and it will add to myself as an entertainer.
When you first come in the NBA, you have a lot of conversations about saving your money, financially educating yourself, not just trusting whoever it is handling your money, not just having those meetings once a year, and not really putting the effort into learning the same way you learn your craft on the court.
The enemies of acting are mood and attitude and other general homogenized disruptive entities. Whereas acting is about action - doing - and unless you can figure out a way to craft in an imaginative reality to which you don't submit, you're going to be out of control. You'll flip out. The job is to be surprised.
I would love to direct but I feel like directing is a whole separate craft and so I tend to respect it as a separate craft that I would need to study first. So, right now I'm still trying to do certain things as an actor and until I get bored of that or I feel completely fed by that then I'll move into directing.
Writing and creating, those things come to me on their own. I feel like... you sort of summon them and it's like allowing the universe to enter your heart in an entirely different way to what it normally does. It's like inviting that energy of the universe to enter into your craft in a way where it has a meaning.
Because of reality television and all these celebrities thinking they can be designers, everyone imagines that they can just become a designer, photographer, or model, but that's not the way things work. People have to go to school, learn their craft, and build a brand - that's the right, healthy way to do things.