A Quote by Ederson

I'm not sure if I would be able to do set-pieces, but I'm good at penalties, either using power or technique on shooting it. — © Ederson
I'm not sure if I would be able to do set-pieces, but I'm good at penalties, either using power or technique on shooting it.
I'm good at penalties, either using power or technique when I'm shooting.
You can practice shooting eight hours a day, but if your technique is wrong, then all you become is very good at shooting the wrong way. Get the fundamentals down and the level of everything you do will rise.
The EPA code needs to set forth a clear, regular, and rational system of penalties for violations of its code, with the amount of the penalty set in proportion to the amount of pollutant released by a given defendant, and no penalties imposed in the absence of any pollutant released.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
If I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
Every actor has their own process. For me, I really need to stay in the pocket. So, if I'm on set and I'm in character, I'm not thinking like a producer. If I'm on set and I'm not in character, wardrobe and make-up, and I'm just coming on set for the moments that I'm not shooting, then I'm able to be the producer.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
Shooting videos with lots of effects is like shooting a bunch of puzzle pieces.
I set up a system for myself where I work on a lot of pieces at once. I'll switch between them and keep working on a piece until it comes together, and then I'll publish it. This way some pieces can take a year if they need to. The trick is to just make sure one is ready every week.
I warm up with my mom and make sure I understand what the songs are about, and make sure I'm using the right technique. To be honest with you, I really don't practice a lot... Usually I say a prayer and ask the Lord to sing with me and help me and stand on the stage with me.
I warm up with my mom and make sure I understand what the songs are about and make sure I'm using the right technique. To be honest with you, I really don't practice a lot... Usually, I say a prayer and ask the Lord to sing with me and help me and stand on the stage with me.
My ego would be fed tremendously when I'd go on a set and get in a car and tear it to pieces. I'd get out and everyone on the set would applaud.
I am on the power toothbrush train and I'm asking people to try to using an Oral B power toothbrush. I just started using one and I cannot believe that I waited this long to use a power toothbrush. It's so much easier than using a manual toothbrush.
I've directed bits of action and so I know that it's long and it's very detailed. Editing action is a good deal more exciting than shooting action. Shooting action is very, very meticulous, it's increments, tiny little pieces.
But the difference between the little pieces and the big pieces - I'm not actually sure which are the little pieces. With some of the big pieces, it's a lot of musical running around, whereas the little pieces, you can say everything you want to say.
The trick generally is to break programs into pieces and have those pieces be individually testable and so then when you move on to the other pieces you treat it as a black box knowing that it either works or doesn't work.
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