A Quote by Chen Guangbiao

I may be a maverick, but it doesn't mean I like playing tricks. — © Chen Guangbiao
I may be a maverick, but it doesn't mean I like playing tricks.
Someone once described me as a maverick and that's what I would say. I'm a maverick not by choice but by conviction.
Maverick is a word which appeals to me more than misfit. Maverick is active, misfit is passive.
I'm a maverick. I've always been a maverick.
The whole world loves a maverick and the whole world wants the maverick to achieve something nobler than simple rebellion.
People like Art Blakey and Buddy Rich, you look at them playing music, and it's just like looking at a heavy metal drummer. I mean, they're playing with the same amount of ferocity. It's not to say all jazz is like that.
I have a few tricks and dribbles which I use a lot and when I am playing well, it is natural that they become easier. But the tricks I use are the ones that will hopefully benefit the team. What I do as an individual player is only important if it helps the team to win. That is the most important thing.
Giving my life to you may mean leading a very ordinary life or it may mean leading an extraordinary life. It may mean having a family and a career or it may mean going beyond all that to just work for others. It's hard to say. Rather than making a decision myself, I'm going to give my life to you, to do with as you will, because I know that you are my self, you are my very being.
Novelty may fix our attention not even on the service but on the celebrant. You know what I mean. Try as one may to exclude it, the question "What on earth is he up to now?" will intrude. It lays one's devotion waste. There is really some excuse for the man who said, "I wish they'd remember that the charge to Peter was Feed my sheep; not Try experiments on my rats, or even, Teach my performing dogs new tricks.
"Do you like card tricks?" "No, I hate card tricks," I answered. "Well, I`ll just show you this one." He showed me three.
I mean, in the foreword to Impro in Denmark is by Søren Iversen, who I taught long ago, he was a Danish director, after he left. He said he'd read about [Eugeny] Vakhtangov. I'm a fan of his. When he heard that Vakhtangov had lots of tricks, he thought this was very bad. But when he came to be my student, he realised it was very good to have a lot of tricks. You saw some this morning.
Along with the differences that abide in each of us, there is also in each of us a maverick, the darling stubborn one who won't listen, who insists, who chooses preference or the spirited guess over yardsticks or even history. I suspect this maverick is somewhat what the soul is, or at least that the soul lives close by and companionably with its agitating and inquiring force.
It was really amazing. I mean, he'd never mentioned that he played in the symphony, like serious violin playing, not fiddle playing. And he just blew us away.
For 'The Haunting Hour,' I thought it would be a lot of fun. It was great to play this cool kid role. My episode is called 'The Intruders' and my character is this mean, angry teenager because her younger brother was just born and he gets all of the attention. She's always playing tricks on her family, and there are some cool twists.
At first the cartoon medium was just a novelty, but it never really began to hit until we had more than tricks... until we developed personalities. We had to get beyond getting a laugh. They may roll in the aisles, but that doesn't mean you have a great picture. You have pathos in the thing.
If you come in like a typical modern drummer who is used to playing only with tricks and double kick and, like, big, big, big, fast rolls, but you can't play a swinging shuffle, then you can't play in Ghost whatsoever.
Time and distance have a way of playing tricks with your best intentions.
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