I'm a slow worker; I'm, I think, a steady worker.
There is an advantage in having a routine and working with the same people when you can and in writing as a regular thing and filming as a regular thing. That routine pays off for you. You get a lot of productivity that way, rather than sitting around waiting for inspiration and waiting for the perfect thing to happen. I would be much less productive that way.
The point always is to be writing something - it leads to more writing.
Most Sundays, with the exception of football Sundays, I work, because I don't take days off as long as I'm working on something that's supposed to be all in the same mood.
I find as an artist if I'm not expressed relatively consistently, I get really depressed.
If you're an artist, create music and put it out on the Internet. If you do this consistently, your fan base will continue growing, and that will power your entire career.
When I start a book, I write a minimum of five pages every day, except weekends. If I'm going on a ski trip, I take my computer with me, get up at six, do my five pages, and then go skiing.
Write a thousand words a day and in three years you'll be a writer!
I will say what I aspire to is a consistency in making films, to direct something every couple of years.
You know, I can't imagine 9 to 5 writing. That takes some stamina.
I guess I will probably produce a little bit more. For me it's a career, you create as you go along and you can't worry about always being on top.
It's never been seen that a street artist go as far as I've gone - keep consistent without wanting to do a bunch of ventures outside of music to keep my face out there.
People are used to streaming and binge-watching. When they see an author they like, if there's only one book, even if they like the book, they're going to forget about you. The way to keep you in their mind and to get you to become a habit for these readers is you have to have a lot of product out there for them to read.
We don't really make bad records, though some people might like some more than others. And we have never really done a bad show. So I think in a way maybe we've been taken for granted.
I set myself 600 words a day as a minimum output, regardless of the weather, my state of mind or if I'm sick or well. There must be 600 finished words-not almost right words.
It's difficult to get an audience to want to keep up with you, stay present tense. But there's never been a big lag in my career between product. I've constantly tried to pull my audience up into what I'm doing present tense, and they've been usually happy to go there with me.
I don't necessarily wait for that massive leading role. I want to keep the juices flowing.
I made my first album, and I guess it wasn't a fluke, because now I'm on my 16th.
Consistency of performance is essential. You don't have to be exceptional every week but as a minimum you need to be at a level that even on a bad day you get points on the board.
We don't want to just be known for what we did. We want to be known for what we do and what we did. We've been highly productive since 2000 when 'Crush' came out.
I would film one or two videos a weekend and upload those throughout the week. For a month and a half, I was just constantly filming. There was no downtime. There was always a camera in front of my face.
The measure ov overexposure is not how many times people see you on TV or in the bookstores. It's whether you can maintain the quality of your entertainment. If you can, people will always be glad to see you.
A day doesn't go by where I don't create something.
The business is a very tricky obstacle course, and you should be very clear about work begetting work. If you're not working, you're not interesting.
I want to be a playwright the way people are bank tellers. I want to keep doing it and have it go steadily and smoothly.
