A Quote by Jaime Pressly

Determination is kind of like rhythm: you can't teach it. — © Jaime Pressly
Determination is kind of like rhythm: you can't teach it.
I see only one requirement you have to have to be a director or any kind of artist: rhythm. Rhythm, for me, is everything. Without rhythm, there's no music. Without rhythm, there's no cinema. Without rhythm, there's no architecture.
As a director, the biggest job is to discern the imperfections in emotional tone and then view it in the global picture of what you're trying to do, if that makes sense. It's a rhythm, like music is a rhythm or composition and art is a rhythm. Dialogue is a rhythm as well.
Our breath, like our heartbeat, is the most reliable rhythm in our lives. When we become attuned to this constant rhythm, our breath can gradually teach us to come back to the original silence of the mind.
Humor is like music. It's a rhythm, and you just kind of get the rhythm of it, and you have to know not to let the beat go too long, but to leave a beat in there for it to gel.
The rhythm is below me, the rhythm of the heat. The rhythm is around me, the rhythm has control. The rhythm is inside me, the rhythm has my soul.
Any time you sit out, it could throw off your rhythm a little bit, and I'm kind of a rhythm player.
Even when I teach my MMA classes in the gym, it's hard to teach what I do. It's more of state of flow, a state of feel. It's not a robotic thing like one, two, three, kick, one, two, three, switch, jab, cross. It's completely unorthodox. Everything is about rhythm, tempo and pace. It's a different style, man.
Obviously, the United States' own founding principles are self-determination. And I think what the United States and our allies want to do is to enable the Syrian people to make that determination. You know, we've seen what violent regime change looks like in Libya and - and the kind of chaos that can be unleashed.
Action choreographer is like talking. When you talk, you have a rhythm. When you act, you have a rhythm. When you're moving your body, you have a rhythm. So as an actor, as a choreographer, the objective is trying to blend everything in - into - ultimately back into that character.
All life requires a rhythm of rest. . . There is a rhythm in the way day dissolves into night, and night into morning. There is a rhythm as the active growth of spring and summer is quieted by the necessary dormancy of fall and winter. There is a tidal rhythm, a deep, eternal conversation between the land and the great sea.
Writing is so much about rhythm. If you've got another rhythm in the room, it spoils the rhythm of the words.
Although the assembly of the shots is responsible for the structure of the film, it does not, as is generally assumed, create its rhythm; the distinct time running through the shots makes the rhythm of the picture, and the rhythm is determined not by the length of edited pieces, but by the pressure of the time that runs through them. The pieces that 'won't edit', that can't be properly joined, are those which record a radically different kind of time
I wanted to show, like, neighborhoods in Canada and Europe and stuff like that are integrated with all of us, you know what I mean? People live together harmoniously and they teach each other culture and they teach each other things that school can't teach you, only real life can teach.
There is a rhythm to the ending of a marriage just like the rhythm of a courtship, only backward.
We all share in the same cosmic rhythm... For all natural laws are like the rhythm of the strings of the harp.
Then, you know, the other more-traditional role of the producer in, like, the kind of Quincy Jones sense is kind of part arranger. So you're coming up with, like, these - you hear these songs that are quite bare-bones, and you dream up what's the band doing? What's the rhythm section doing? What's the guitars, strings, pianos - that sort of thing. It's almost like a little toolbox.
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