A Quote by Bobby Roode
I'm a lot more focused on character development and showing more of my character's emotions and persona inside the ring rather than just going move after move after move.
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Most people in business and within their personal lives move towards complexity. More To Dos. More projects. More products. More meetings. More possessions. More goals. The best - I suggest to you - move in the opposite direction.
However tired you are, whatever the distance is, move to your target! Even if you move as slow as a snail, you will reach there! Move! Either fast or slow, just move!
Sometimes when you do a part, the wall between you and the characters can be very porous. You can sort of move in and out of your character's persona and being. And that just couldn't happen on this one because of working with him.
If you want or need to move, move with a winning record of success, move with a plan, and move to something you love.
Comes over one an absolute necessity to move. And what is more, to move in some particular direction. A double necessity then: to get on the move, and to know whither.
There is more emotion in a match in New Japan. The matches here in the U.S. are so fast that sometime they lack emotion. It is move, move, move.
It's very easy to make insects move. Because they do move mechanically without the rippling of flesh as you mentioned. They move more like real tinker toys and you can make models of them quite easily.
I believe we are going to move into a situation where the more effective conferences will be smaller, more specialized, more focused, with occasional large gatherings to get the attention of the larger world.
Be prepared to cut your little extra lines that come after a big punchline and move on to the next joke or routine to give your set more punch and crispness. You can keep them in your set, but if the audience applauds your big line, don't do your tag when it dies down, just move on.
But he did say that the character would be on the sidelines in movies One and Two, and move into the middle with number Three, but I didn't realize he would move in with quite such a bang.
If you move here from somewhere else, I often think if I move to Germany, for example, or if I move China and I go worship there I will understand and I'll be willing to give up a lot of my culture because I'm in somebody else's homeland. So I'm going to have to act German or Chinese, whatever that might mean.
I felt like if I could get the epiphany out of the way in my drafting process, through my eighth or tenth draft, then that can just be part of how I've assembled the character, and then we can move on and move forward with it. In general, I don't ever want to feel smarter than my characters, because I just feel like that's not a great way to write a story.
Families, when they get a housing voucher, they move a lot less. They move into better neighborhoods. Their kids go to the same school more consistently. Their kids have more food, and they get stronger. There are massive returns.
If civilization is going to survive, business and policy-makers must move on, to find within themselves more developed emotions than fear or greed.
In wrestling there are so many people inside and outside the ring, and it's so live, and it's this whole adrenaline thing. Whereas you move it into this more intimate thing, everything gets all quiet, someone says action, and you have to say the lines and make the words your own. It couldn't be any more different and it's weird sometimes trying to explain that to people. When I tell people that acting is much more terrifying to me than going out in front of ten thousand people, they don't quite believe it because for some reason that intimacy is just terrifying to me.
There was a whole batch of mc's that came out with me and a lot of them got more exposure than me but now a lot of them are out of the game, I'm still here, I'm a survivor so that's what makes me move the way I move.
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