A Quote by Benjamin Hoff

The Christmas presents once opened are Not So Much Fun as they were while we were in the process of examining, lifting, shaking, thinking about, and opening them. Three hundred sixty-five days later, we try again and find that the same thing has happened. Each time the goal is reached, it becomes Not So Much Fun, and we're off to reach the next one, then the next one, then the next.
You got to go back and look at it, what happened when Mike Singletary retired? What happened to the Bears for a while? They were trying to find that next guy. That was the hard thing was, they were they were trying to find that next guy.
When I get started each day, I read through and correct the previous day's 2,000 words, then start on the next. As I reach that figure, I try to simply stop and not go on until reaching a natural break. If you just stop while you know what you're going to write next, it's easier to get going again the next day.
To try to create a character without a whole lot of information can be taxing. At the same time, it's fun to just stay on your toes and let the next bit of dialogue come in, and turn the page as you read the next script and see what they have in store for you next.
What we get in punk these days is the "anti-anti": Someone comes up with something, then the next generation is against that, and then the next generation is against that, and then that thing becomes a problem. There's these layers of anti-, and so many of them are just so self-serving. It's not about larger freedom.
I remember the first show I had there were about 3 people, at least there was somebody. The next one was about 30. Then a couple years later there were 300 people and before I knew it there were 3,000... Then one day, I opened my eyes and there were 300,000 singing all my lyrics.
If you score a hundred in one game and then don't do much in the next three or four matches, then that hundred doesn't mean anything.
I always love using the girls behind the blocks to create even more energy. It's so much fun and so much energy to be with these girls, I love training with them and it's just so much fun to race next to them. I try to use that as much as I can.
There's always a time in any series of work where you get to a certain point and your work is going steadily and each picture is better than the next, and then you sort of level off and that's when you realize that it's not that each picture is better then the next, it's that each picture up's the ante. And that every time you take one good picture, the next one has got to be better.
Just because you have kids doesn't mean to say you need time off. I have a lot of time off anyway. If I'm promoting my book, like, for the next two weeks, I'm flat out. But then I'm off again. And when you've got the next product, it's the same; you just condense it into a couple of weeks.
A lot of the time, when I'm choreographing, I'm not thinking about what movement look best next to the next movement - I'm actually thinking about what song and what sound sounds right next to the next thing. So kind of choreographing as if I'm always making a mix tape, so to speak.
You know, all is development. The principle is perpetually going on. First, there was nothing, then there was something; then-I forget the next-I think there were shells, then fishes; then we came-let me see-did we come next? Never mind that; we came at last. And at the next change there will be something very superior to us-something with wings. Ah! That's it: we were fishes, and I believe we shall be crows.
I used to live at the Cecil Hotel, which was next door to Minton's [Playhouse]. We used to jam just about every night when we were off. Lester [Young], Don Byas and myself - we would meet there all the time and like, exchange ideas. It wasn't a battle, or anything. We were all friends. Most of the guys around then knew where I lived. If someone came in Minton's and started to play - well, they'd give me a ring, or come up and call me down. Either I'd take my horn down, or I'd go down and listen. Those were good days. Had a lot of fun then.
In doing everything, from coming up with the ideas and putting them on paper till doing the final edits, you are always thinking the next three steps, you're always thinking what next, what next, what next?
When it's been a long day of climbing, and I feel like I can't go any farther, I concentrate on the next three feet. And then the next three feet; and then the next three feet. Pretty soon, I'm at the top.
But is it such a bad thing to live like this for just a little while? Just for a few months of one's life, is it so awful to travel through time with no greater ambition than to find the next lovely meal? Or to learn how to speak a language for no higher purpose than that it pleases your ear to hear it? Or to nap in a garden, in a patch of sunlight, in the middle of the day, right next to your favourite fountain? And then to do it again the next day?
I had forgotten: this is what it feels like to live in time. The lurching forward, the sensation of falling of a cliff into darkness, and then landing abruptly, surprised, confused, and then starting the whole process again in the next moment, doing that over and over again, falling into each instant of time and then climbing back up only to repeat the process.
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