A Quote by Brin-Jonathan Butler
He's the best practitioner I've ever seen of the Cuban style. But I think that what Rigondeaux sees as an immaculate performance has no corollary to what fans see as a perfect performance. In his mind, to make an opponent look terrible who has been lauded as exciting or favored against him gives him satisfaction.
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He wants her in his bedroom. And not in that way — no girl has ever been in his bedroom that way. It is his private space, his sanctuary. But he wants Clary there. He wants her to see him, the reality of him, not the image he shows the world. He wants to lie down on the bed with her and have her curl into him. He wants to hold her as she breathes softly through the night; to see her as no one else sees her: vulnerable and asleep. To see her and to be seen.
Performance comes only when there is confidence. And for a player, his confidence increases if he knows his team-mates are confident of him, the media is confident of him, the fans back him.
There is something that you have that no one else ever had ... When you watch Kirk's [Douglas] performance in anything, in anything he's ever done, you cannot take your eyes off of him. It's not possible to look away from him.
'An Audience With Kenneth Williams.' My wife and I went with him to the recording. He was paid £10,000, the largest fee he had ever received and was so nervous he was shaking. But his performance was matchless. He knew it was the best thing he'd ever done.
How many of you say: I should like to see His face, His garments, His shoes. You do see Him, you touch Him, you eat Him. He gives Himself to you, not only that you may see Him, but also to be your food and nourishment.
Before the days of video village a director should stand right next to the camera, look with his naked eye and if he sees something that is real to him, he'd look up at the [camera] operator and if he gives the look to indicate he'd seen it to, then you print and you'd move on.
The actor depends wholly on himself. He gives his performance in what, to him, seems the most effective manner.
I like the adrenaline of live performance, whatever that is, appearing in front of an audience of any kind, whether it's one or a hundred or a thousand. It gives you a buzz of adrenaline, its exciting. The thing about that is that you want to make those nerves work for you in terms of an energy that's appropriate for the part and the performance, and not to distract the people who are watching so that they become nervous for you.
The underlying foundation of all religion is performance - whether it's a tribal dance around a campfire to satisfy the fire god, or a dead religious activity performed week after week by an evangelical Christian with the intent of impressing his God. It's all religious performance, and God isn't impressed by our performance. What impresses Him is faith.
While an author is yet living, we estimate his powers by his worst performance; and when he is dead, we rate him by his best.
I think Stanley Tucci was having an affair with his mother. He had this odd quality that I haven't seen him ever get to do again in a movie that just made me think he's got some chops. He's got a strangeness to him, but he's also clearly been stuck in this role because of his looks and his type. He's been really pigeonholed, I felt.
We don't look at each other anymore. Not really. Not since I pulled him from that opium den. Now when I look at him, I see the addict. And when he looks at me, he sees what he would rather not remember. I wish I could be his adored little girl again, sitting at his side.
DEBT, n. An ingenious substitute for the chain and whip of the slave-driver. As, pent in an aquarium, the troutlet Swims round and round his tank to find an outlet, Pressing his nose against the glass that holds him, Nor ever sees the prison that enfolds him; So the poor debtor, seeing naught around him, Yet feels the narrow limits that impound him, Grieves at his debt and studies to evade it, And finds at last he might as well have paid it.
I don't want to give my opponent the satisfaction of watching me celebrate, which would make it look like a big deal that I beat him.
I'd never seen Rigondeaux's face without it being obscured by headgear or a photograph of Fidel he was holding up after winning a tournament. Finally I saw him, only to recognize the saddest face I'd ever seen in Cuba.
We might think of dollars as being 'certificates of performance.' The better I serve my fellow man, and the higher the value he places on that service, the more certificates of performance he gives me. The more certificates I earn, the greater my claim on the goods my fellow man produces. That's the morality of the market. In order for one to have a claim on what his fellow man produces, he must first serve him.
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