Demanding Schedule Quotes

When we're in production, it's 14 hours a day, and we couldn't be less involved in the world. My friends all hate me during that time because I can't see anyone. We say goodbye to everything.

Especially early on, I had no idea what I was going to be asked to do when I walked into a studio. I was doing 26 sessions a week - all day, all night.

When you're working on a television series, you only get a very short off-season. The scheduling of TV is relentless.

It's hard work just being on set 14 hours a day.

You're wrestling seven days a week for four months straight. It's a great way to learn.

When you're really serious about ballet, it's a job - even if you're 15 years old. You're doing it six to eight hours a day.

It's incredible. Twenty-three minutes on the air, and I've got to shoot for twelve, fifteen hours a day. What the hell's that?

When I'm on a movie, I'm unavailable every day for a year and a half. You can't do that with a little baby. Somebody might be able to do it, but not me.

You can't do four movies and be good to everybody and be flying all night and shooting all day with a different wig and then be going to sing on Broadway without feeling a little tired. You endlessly feel you're letting somebody down.

You can't really explain to anyone the experience onset, you actually have to see it to understand what we're all going through. Some days we can be on set 15 - 17 hrs. Plus then there's training.

At the end of the day, I'm reading the news. I'm not digging ditches. I'm not fighting fires. It's a long day, and it's a lot of responsibility, and it can be a little bewildering sometimes with the schedule. But, you know, it's a job, and they pay me well to do a job.

I wish there were 48 hours in a day and 14 days in a week.

I love training - I train a lot - but for 140, it's worse. You have to run every day. I ran six miles in the morning, six miles at night and train MMA and other arts, too. It's a lot of work, a lot of work.

Make no mistake about it: when you're on the road Friday, Saturday, Sunday, Monday, Tuesday - on the road 300 days a year - you have to be a certain type of person.

Every day I have this crazy schedule that happened overnight - it's a lot to process.

Pilot season tends to be grueling, because you can be thrown all of these auditions at once - last-minute, always - and you're going on three a day, especially back in the day.

I don't enjoy the road life or WWE's really hectic schedule.

I learnt a lot from my Broadway experience, it was one of the most challenging things I will probably ever have to do in my entire life, because it was eight shows a week - live singing with really hard choreography - and the spontaneity, you don't know what's going to happen.

Eight shows in six days can become very tiring - actually, a grind. It's not that I ever dreaded going to work because I always maintained a level of gratitude.

To make a film is eighteen months of your life. It's seven days a week. It's twenty hours a day.

Sometimes, you're going 24 hours a day, seven days a week for a few months, and then you come home, and you wonder what you're doing with your life and why. At least, that's the experience I've had.

15 Storeys High' is the hardest thing I've worked on. 12 hours a day, 7 days a week.

I've done two shows every day for years, but I don't think I could work on just one show a week. I would go crazy, and I would drive everybody nuts. I've got to feel like I'm under pressure.

I survived on sandwiches, and I was on stage every night for six years of my life. I was working 16 hours a day between class, rehearsal, being on stage.

We plan tours months in advance, and you leave a few days off here and there where you feel you'll be tired after some shows, but if other opportunities keep coming in, those days get swallowed very quickly, and it's an impossibility to get this stuff right.