A Quote by Dwayne Johnson

My genetic make-up is one of physicality. I'm a visceral guy. — © Dwayne Johnson
My genetic make-up is one of physicality. I'm a visceral guy.
I'm the guy who will persist in his path. I'm the guy who will make you laugh. I'm the guy who strives to be open. I'm the guy who's been heartbroken. I'm the guy who has been on his own, and I'm the guy who's felt alone. I'm the guy who holds your hand, and I'm the guy who will stand up and be a man. I'm the guy who tries to make things better. I'm the guy who's the whitest half Cuban ever. I'm the guy who's lost more than he's won. I'm the guy who's turn, but never spun. I'm the guy you couldn't see. I'm that guy, and that guy is me.
In life, it's not the genetic guy who wins or the guy with the most potential who wins; it's the person with the greatest perseverance who wins. Always be willing to get up and go at it again and again. That's the guy who has his hands raised later in life. That's the guy you guys need to be.
There's a scene in 'Singin' in the Rain' where this guy dances with a giant doll while singing 'Make 'Em Laugh.' I remember loving the pure physicality of it.
One time, this guy was bothering my mother, and me and my brothers had a stern talking with the guy and a little bit of physicality with him. So he disappeared. But I'm not a magician.
The physicality of any character is always split up into fast, slow, high energy, low energy, what kind of personality he has. So that's where the physicality comes in. And flying through the air is just something you have to do if they ask you.
Plant genetic resources are seldom 'raw materials'; they are the expression of the current wisdom of farmers who have played a highly significant role in the building up of the world's genetic resource base... As is already happening in my country, farmers and national genebanks in developing countries can work together to preserve and expand crop genetic diversity on behalf of all humanity.
In the '90s, when I started, it was still a rough-and-tumble, physical league. You take the hook and holding and a little bit of the physicality out of the game, and the speed ratcheted up two-fold. Now you have a split second to make a hit, or decide to pull up. When there's indecision, you're going to make a mistake.
I don't have the genetic make up of a frontman, but I'm learning how to do it.
I don't have the genetic make-up of a frontman, but I'm learning how to do it.
There is order in the universe, even though it looks like chaos. We separate the world into categories: this is good and this is bad. But life is set up to trick us. It's a series of illusions we invest in. And ultimately those investments don't serve our understanding, because physicality is always going to let you down, because physicality doesn't last.
There are times when I consciously give the character something physical - a walk, the way he sits, how he talks, or his lack of physicality, which is like a physicality.
I think nobody would claim that random genetic drift is capable of producing adaptation, that is to say the illusion of design. Random genetic drift can't produce wings that are good at flying, or eyes that are good at seeing, or legs that are good at running. But random genetic drift probably is very important in driving evolution at the molecular genetic level.
We have a visceral reaction to the idea that anyone would make very much money helping other people. Interesting that we don't have a visceral reaction to the notion that people would make a lot of money NOT helping other people.
Superficially it's a problem if homosexuality is genetic - if the difference between people's sexual preferences is genetic - because at least a pure homosexual would be unlikely to reproduce and therefore pass on the genes. So the first question you ask is, is it actually genetic, and the answer is probably to some extent yes.
The visceral nature of hard rock music, the fact that you can have this sledge hammering sound - and that you can hook a lyric up and a feeling up to something and make the lyric jump into this machine that crushes. That has always been really attractive to me, that kind of power.
Fear of nothingness is fear of a certain physicality, a physicality whose phenomena I cannot predictably demarcate from its reality in advance.
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