A Quote by Haruki Murakami
Between the time the last train leaves and the first train arrives, the place changes: it's not the same as in daytime.
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I was 16. In the middle of the night, I took a taxi to the Detroit train station - or maybe it was the Pontiac train station? - and got on a train to Chicago, then transferred to a train to San Diego where my boyfriend was living at the time.
There was a time in my life I wanted that Olympic medal, and all I did was train, train, train and work harder than ever.
There's a big link between trains and film. One of the first filmed objects was a train. The clickety-clack of the projector and the clickety-clack of the train are similar. There is the idea of the voyage - every voyage is a story. I wonder if film would have been invented without the train.
It's hard to get a tattoo and give it the time that it needs to heal in between trying to get ready for fights and train. I would probably have more if I wasn't having to roll around and train all the time.
When you train, you should train as if on the battlefield. Make your eyes glare, lower your shoulders and harden your body. If you train with the same intensity and spirit as though you are striking and blocking against an actual opponent, you will naturally develop the same attitude as on a battlefield
If you go to Japan, even at the pokiest little station, every single train is arrives and leaves on time - not to a couple of minutes, within 30 seconds. In Canada, they have constant problems with massive avalanches and bear attacks on the line, but all these problems are solved immediately.
Unlike a novel, where you expect a different kind of arc that leaves us with a somber sense of resolution, I think a story in some ways as like a train window: being able to watch the landscape pass for a certain amount of time. And then your stop arrives, and you have to leave.
Most train to be part of the game. The greatest train to be the game: I am the game. Third-and-9, two-minutes left, that's what I train for. I train for moments everyone runs from. I run for them.
I'd rather play a tune on a horn, but I've always felt that I didn't want to train myself. Because when you get a train, you've got to have an engine and a caboose. I think it's better to train the caboose. You train yourself, you strain yourself.
It's all about nutrition. You can train, train, train all you want but I always say you can't outtrain a bad diet.
After hours, I would train, train, train, six or seven days a week, until 2 or 3 in the morning sometimes.
It was like the classic scene in the movies where one lover is on the train and one is on the platform and the train starts to pull away, and the lover on the platform begins to trot along and then jog and then sprint and then gives up altogether as the train speeds irrevocably off. Except in this case I was all the parts: I was the lover on the platform, I was the lover on the train. And I was also the train.
I train the same way as I've always trained, even before I was champion. That's the difference, I train like a challenger.
I would like to like to make one thing clear at the very outset and that is, when you speak of a train robbery, this involved no loss of train, merely what I like to call the contents of the train, which were pilfered. We haven't lost a train since 1946, I believe it was - the year of the great snows when we mislaid a small one.
The biggest danger is that actors become entirely too dependent on the idea of training. They think that if they continue to train and train and train, it's going to make them better.
For years I did most of my reading on the F train between Brooklyn and Manhattan. I had long commutes, and I read tons of books on that train; I loved it.
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