A Quote by Adrian Beltre

I don't like to play slow or softly. I like to play hard. Always. — © Adrian Beltre
I don't like to play slow or softly. I like to play hard. Always.
I've always been a guy that's worked hard off the ice and prepared the right way and I feel like I can play those minutes, can play power play and PK and 5-on-5 and I've worked hard to make sure my stamina's up so I can play those minutes.
Be fast on the field physically, but play slow mentally. Basically, play hard but play smart.
Baseball does become slow sometimes. It's totally unnecessary. The - you can play baseball fast. You can play it slow, and for some reason, we have chosen to play it slow, you know, which is unfortunate, but nothing you can do about.
I never like to play for myself, and that is why I don't own a grand piano. To play for yourself is like looking at yourself in a mirror. I like to practice; that is to work at a task. But to play there must be an audience. New things happen when you play for an audience. You don't know what will occur. You make discoveries with the music, and it is always the first time. It is an exchange, a communion.
I consider myself a pretty hardworking guy and I like to play hard, play physical and play well defensively too.
It is okay to play tough and try to hit guys hard in the course of the play - that's fine - but I don't like unnecessary roughness or things that happen after the play.
I started piano like my sisters. After one year or two, I didn't like it anymore. Then, because I like trumpet, I played the cornet. When you are 7, you can't play trumpet - you play cornet. And something didn't go well. The teacher was too hard. Too rough. Suddenly, there was this instrument, the flute, that I could immediately play.
I have always wanted to play different kinds of stuff, but it's hard, first to find good material, and then to change people's perception of you so they'll let you do it. I mean, I would really like to play a poet, but once they get this notion of you as a street guy, it's hard to change that.
Really, you just play football; that's all I can do... I don't change. I'm going to always play tough, hard - that's the way I was brought up at Nebraska, where I really learned football from the Pelinis and that staff and continue to play hard, play blue-collar football.
I like to play the weirdos. I like to play the people that are hard to like. You get to say and do things that you would never say and do in real life.
I like to play as a No. 10. I think I have more freedom offensively. For Belgium, we have full backs who run hard and create a lot of space, which is good, and I like to play there.
I'd really like to play a character who's inarticulate. I always play people with language. It would be good to play a mute or a fool or a saint.
My kids don't slow down, but they like to hang just with us, with mum and dad. They play with us and we play, too.
I will play power forward and small forward. Rebound, lead the break, play on the wing, post, play fast and play slow.
I mean that's something we're very conscious of when writing. Tempos are very important. Like "Oh we can't play the song too fast because people aren't going to feel it." There's a pulse to a song. You can't play it too slow. We're always trying to find the perfect tempo.
I think a lot of the production process is always giving yourself, like what I call like escape routes, like, if this scene doesn't play, if we realize we've had too many dirty scenes in a row, and it's like, because you don't have the luxury when you're in the middle of shooting, to see how these scenes play all in a row, kind of, you know what I mean. So, like we're always trying to like have insurance policies on, ok, if that doesn't work, we can just jump to this thing.
This site uses cookies to ensure you get the best experience. More info...
Got it!