If a woman's aim is to become a singer, I would highly advise her to first develop her craft in songwriting. It's such a powerful tool to have when you're a singer.
Teaching is all armchair. I learn about writing by writing and thinking about what I've written and throwing it away.
Acting was something I wanted to work at and put the time into.
I've found a lot of the thinking in America is that a lot of people become actors to become famous. At least from my experience, I have a dozen or so British friends who are actors, and if you look at their body of work, and they'll go do theatre, and they'll go do this and this. They work, and they're always honing and trying to be better.
I learned a lot about what I do with my craft, how I present my music. A lot of things about him were very much an influence on me and everybody else. Once you get in that fold and you're around it, you get to experience something that I don't think we'll ever see again. There will never be anybody like Frank Sinatra. Ever.
I think it is important to surround myself with artists who share the same goals and aspirations. This way, I am constantly encouraged to sharpen my craft and challenge myself.
Everyone has a different path. I knew no one in the acting industry growing up. I never did a play until college. I was not outspoken when I was younger and I hated being the center of attention. But I had a dream of being an actor. I went to NYU and studied theatre. I learned a craft. And began my career straight out of college.
That's a very good way to learn the craft of writing - from reading.
The dot stands for 'detail' - always be paying attention to detail. I feel that people take you as serious as you take yourself. I spent a lot of time working on my craft, developing my style, and after I came out of my little incubation, I promised that I would pay attention to detail.
Everybody has auditioned and failed. You learn from that. It's how you learn your craft.
I think journalism is useful training for a writer in the way it takes the preciousness out of the pragmatic side of the 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.
The actor's journey to learn should never stop.
Writing is a trade ... which is learned by writing.
Being open to the unexpected allows me to bring so much to my craft.
I'm going to keep perfecting my craft and keep getting better.
I like to keep at my craft. I like to keep reading scripts, whether I'm in it or not because of the fact that what would I do in a certain case? How would this happen or how would that go? I like to keep working with my mind, so when I do perform I have something to perform with, and it's not just like trying on new clothes. You're trying on a suit, but you know where the heck the pants go.
Our approach is more the jazz approach, where you learn to play your instrument as well as you can, develop your craft, and then communicate with each other. That's the focus, not trying to give some message or entertain or have a good light show or whatever.
The trick to acting is not to show off; it's to think the thoughts of the character. I was lucky because when I started acting, it was doing jobs above pubs. I learned to act in anonymity, so by the time people saw me, I knew what I was doing. I was crap for years, but no one saw me being crap. It's a trade you learn.
I get very competitive with myself and always look to better myself from my previous projects. I have learned that it's important to work on the craft than the project.
I want to stay learning and hopefully allow my craft to evolve.
I knew I could rap a little bit, which is not the most unique way for being funny. The more I did it, the better I got at rapping, and then I fell in love with the craft of it, and the possibility that I was a good rapper was very intriguing.
Writing is like anything else - the more you do it, the better you get at it, the easier it comes, and the less concerned you'll be about what's going to happen to it, where it's going, what it sounds like, whether it's right.
Early inspirations included Michael Jackson, Prince, Stevie Wonder, Donny Hathaway, Marvin Gaye, Lionel Richie... Those were the people I actually wound up studying just to hone my craft.
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.
