A Quote by Amanda Nunes

I might go down as well to 125 and try it first in the gym to see how it goes. — © Amanda Nunes
I might go down as well to 125 and try it first in the gym to see how it goes.
The gym is where I get my chill-out time. I try to go six days a week, but when I'm working, that goes down to about three.
Everyone goes down a road that they're not supposed to go down. You can do two things from it. You can keep going down that road and go to a dark place. Or you can turn and go up the hill and go to the top - try to go to the top.
I've always been a workout type guy. So if I'm feeling down or I'm not happy with something, I go to the gym and I get a shot of energy. If things don't go well in any aspect of my life, I'm going to the gym and I'm going to shoot. That's my one type of place that's a safe haven where I go and it's just me, the basketball and the hoop, and I'm just doing something I love to do.
I have to go into the studio to make my second album knowing I'm making an album. When I first started making songs I didn't have an album in mind, that's why a lot of them I like - I'm talking about how I haven't got a deal, how I'm living, you can never really top the first time, but we'll see how it goes.
It's depression. You can't put it into words. You get stuck and time passes by. I'm stood there on the edge of a cliff, can't go back and can't go forward. Days go by. I'm still in the same place. Everyone else's life goes on, but you're stuck. You try and try and try and I don't know how, but you came out of it eventually.
Each night, we try something new, play different songs, see what works, what goes down well, mix it up a bit until we find the right mix.
I wake up at 4:15 A.M., get some coffee, turn on the news, see what's happening, go clickety-clack on the web to see what I missed overnight. Then I go to the gym, around 5:15, and I do what appears to be a very light workout, but who cares. I'm socializing with other nice people at the gym. Then I go into work, and I'm really awake.
I go to the gym in the morning without any makeup on. Sorry, guys, if you think I'm ugly, but I don't know anybody who goes to the gym with makeup on.
A minute goes by so fearfully quick. You might as well try to stop a Bandersnatch!
It's not just a trainer - as a man, my dad was unbelievable. Even outside boxing, he was my friend as well. We were boxer and trainer in the gym, but as soon as that bell goes, we'd have a cup of tea, and we'd go on about normal life. We would just leave that bit behind. That's how we kept going.
What I try to do is find a weakness in my opponent. A way that I can hit you. One good, clean shot. Try to time it. If I can get it and the shot is there, if I find that shot in the first round and they go down, they go down. I'm prepared for anything, not just to get first round knockouts. If they're there, I'm not gonna resist to take them.
Secrets have power. And that power diminishes when they are shared, so they are best kept and kept well. Sharing secrets, real secrets, important ones, with even one other person, will change them. Writing them down is worse, because who can tell how many eyes might see them inscribed on paper, no matter how careful you might be with it. So it's really best to keep your secrets when you have them, for their own good, as well as yours.
I'm not a huge gym person, so I try to stay away from the gym. But I love to run on the beach or go for a walk. It's better than riding a stationary bike.
I'm a guy who comes home: I'll play outside, go to this gym, that gym, see all these guys.
If you see me when I first burst onto the scene, you see how quickly I could turn for a big lad and how fast I was up and down the pitch. Then I started picking and choosing my time to go forwards because I was scared of my hamstring going or my knee not dealing with it.
I've always played down the drama in my films. In my main scenes, there's never an opportunity for an actor to let go of everything he's got inside. I always try to tone down the acting, because my stories demand it, to the point where I might change a script so that an actor has no opportunity to come out well.
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