A Quote by Charlotte Dujardin
You can't do the same thing every day with the horse. Because they then know the thing inside out, and they're leading you, not the other way round. You don't want them to take over. You have to be able to ride the movements and set the movements up; you don't want them starting before you are ready.
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It's very good for you, riding. Every model is like, "I do yoga." I find horses have the same effect, in that you have to put your ego aside and concentrate on making the horse do the things you want it to do, and move in the way you want it to move. So you have to use your body to help this horse do incredibly difficult movements that don't come naturally to it. And if something goes wrong, it's not the horse's fault; it's always your fault. So you have to be quite levelheaded. And then the whole nature aspect of it is very calming.
The thing I absolutely hate is when directors don't know what they want, and then they ask you to do it this way, and then maybe that way, and maybe that way, because they haven't made up their minds what they want. So you're running around in circles trying to give them what they want.
I like to foster an atmosphere on set of collaboration and openness and risk taking. The beauty is when you have such brilliantly talented people as I did in my cast, you definitely don't want to fetter them in any sense. You want them to be able to go out there and do their thing and feel confident in doing their thing, because ultimately I'm the person who gets the credit which is great.
Change depends on people knowing the truth. Change depends on people speaking that truth out loud. That's what movements do. Movements educate people to the truth. They pass along information and ideas that many others do not know, and they cause them to ask questions, to challenge their own long-held beliefs. ... Movements are the way ordinary people get more freedom and justice. Movements are how we keep a check on power and those who abuse it.
I get butterflies before going out to ride every day, but they disappear as soon as I am on a horse, and I think that is the same for most jockeys. Then it is just down to you and the horse, and there is a certain freedom in that.
We're talking about the Communist Party, the Socialist worker's movement, those movements basically have been underlined. We have other movements, but they're not as powerful as the movements that we had then.
I want to be on that thing that people watch while they're eating a quick dinner before they go out, or to cheer them up. I want to make people laugh every day, if I can.
Americans wouldn't do that [cashing out the same day]. Then they would be in the great old thing we used to call the marketplace. You know, we have hundreds of millions of stock shares floating every day. People buy them and sell them and trade them.
Sometimes when we're in love, we take the facts and spin them into pretty stories. But it's a dangerous thing to do--because one day, like it or not, you're going to see the world as it really is. You find out people aren't always who you want them to be. And if you're not ready for the truth...well, let's just say it can come as a bit of a shock.
I definitely isolate, but I also always have people in front of me, and I have to be OK with that. I'm in a business where, on the set, you're around two hundred people every day, and if you're high on the call sheet, you sort of set the tone for the set. And you want people to feel appreciated, and you want to ask them how their kids are. You want to talk to people and invest in them and let them know that they're appreciated and heard. But then I do like to just kind of withdraw.
Everything has strings leading to everything else. We're all so tied together. We're all in a net, the net is waiting, and we're pushed into it by one single desire. You want a thing and it's precious to you. Do you know who is standing ready to tear it out of your hands? You can't know, it may be so involved and so far away, but someone is ready, and you're afraid of them all. And you cringe and you crawl and you beg and you accept them--just so they'll let you keep it. And look at whom you come to accept.
What you just had is nothing compared to what I want to do to you. I want my head between your legs so I can lick you until you scream my name. Then I want to mount you like an animal and look into your eyes as I come inside you. And after that? I want to take you every way there is. I want to do you from behind. I want to screw you standing up, against the wall. I want you to sit on my hips and ride me until I can't breath. - Rhage to Mary
I get vested in my guys. I want to know who their family members are, I want to know their interests, I want to know what makes them tick. I want them to also know I care about the other side of them, their personal character and growth as men, because I think we all sharpen each other that way.
What's more important is that we talk about movements; change happens through movements. The movement to end slavery, the movement to bring justice for those who have been left out of the system, movements to include women, movements around sexual preference - all these movements brought about change.
The apex of perfection in equestrian art is not an exhibition of a great deal of different airs and movements by the same horse, but rather the conservation of the horse's enjoyment, suppleness and finesse during the performance, which calls for comparison with the finest ballet, or performance of an orchestra, or seeing a play by Racine, so moving is the sight of perfectly unisoned movements.
I am disappointed when I don't win, because I want to believe I can win on every horse I ride, which is a ridiculous thing to think. Even if I'm on a horse that I have woken up thinking has no chance, by the time I've reached the course, I'll have convinced myself that it can win and will be disappointed if it doesn't.
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