Quotes About Timing

It isn't as important to buy as cheap as possible as it is to buy at the right time.

There were some jobs I wanted that weren't necessarily right for me at the time. The ones I thought I'd never get, I got. As long as I am doing the best work I can possibly do at any given time, I can't do any better than that.

There are a lot of aspects of filmmaking that I love, but one of my favorites is in post, finding the right song for the right moment.

I have this JPM thing: jokes per minute. I've worked out that I should get in about 12 punchlines in five minutes. I need them all. It's like when you walk down a road, if there's a lamp post that's out, it's fine if you can see the next one's alight, but if there's two out, that's a period of frightening darkness.

Editing and post-production is so important with comedy.

Sometimes you just make a contact, and it feels right, but you don't know why. But down the road, something will happen that will make it clear why that connection had to be made at the point it was made.

You really watch basketball and study basketball, the more you realize, the pass really is beautiful. I'm not just talking about the pass where you look away or anything. Just the right pass at the right time to get somebody open is just beautiful. There is nothing better than that. It's contagious - it makes everybody happy.

Yeah, early '71 is when I got my record contract. I had a record come out by August of '71. Things happened really fast.

Comedy is very controlling - you are making people laugh.

Running-between-the-wickets is the ability to convert ones into twos, twos into threes, and threes into fours. And to reach the wickets on time.

The things that are correct for me will come to me at the time that I am interested in them and have the capacity, the understanding, to do them.

I can't do a one-camera show. I don't know how to do that kind of show where you count in your head and then you do the next line.

I like to work the count, but I know when I have to be aggressive.

You can't find a bad count to throw a curveball.

When I'm playing comedy, it is such a crap shoot of what will work and what won't.

Too many creative people never get to see the light of day because shows hang on too long.

I learned it was crucial to play right on the edge of the beat... It makes you drive the song more. You're ahead of the beat, but you're not.

Things are never crystal clear, but at some point, they reveal themselves to you. You just hope it happens when you're still on set.

We bring our preparation to the table, and opportunity may present itself, and if you are well prepared, you can seize opportunity and then maybe something good happens, and you call that luck.

When someone pitches a joke for a character that is just perfect, and you can imagine that actor reading that line at your table read or on the set, it's like the sound of a snap snapping into place.

'FlashForward' was on the outs when I was approached with 'Happy Endings.' I literally got the script on a Friday, and on Saturday morning I met with David Caspe, Jamie Tarses, and the Russo brothers. I took the role on that Saturday, and on Monday I was doing a table read. It all happened very fast, but it was super exciting.

I think that's the beauty of being a private company: you get to choose when you disclose something. You can play it in a strategic way or in a tactical way.

You never know when your time is going to come, if it's going to come, so when it does, you have to take advantage of it.

Opportunities will come, you've just got to be ready to take advantage of it, be ready when the opportunity comes.