A Quote by Joe Ingles
In a situation like this where you're playing every second day, the best thing you can do is watch and learn from film.
Related Quotes
I just try to do my best each and every game. I feel like I've gotten better in every aspect. Just have to continue to work, continue to watch film and learn each and every day.
Involve yourself every day. Work hard and figure out how to love acting all day, every day. It's getting into a made-up situation and making it good and making it real and just playing, just practicing and playing. Like the musicians that I played piano with: they never expect to be rich or famous, but they, for the sheer joy of it, play every day, all day.
You have to learn every day. You can't be playing every day, but you can be practicing. If you cannot be practicing with a net and others daily, you still can be learning about the game by reading, watching and imaging. You must learn every day, if you want to be a real volleyball player. ?
Like every actress, I, too, had movies that got stuck, but I have learnt to always look at the best in every situation and to give my best to every situation.
I like to watch the men play. I like the way that they're playing, and I can always learn something from them. They're playing differently than the women, so I like to learn from them as well.
Losing is not fun. I know the fans don't like it, but they don't have to watch it every day. I have to watch it every day. I don't like watching bad teams.
Learn from the past, but don't live there. Build on what you know so that you don't repeat mistakes. Resolve to learn something new every day. Because every 24 hours, you have the opportunity to have the best day of your company's life.
Nothing is like being out there and playing and performing and winning - nothing. But to have an interest in the player? The nerves and everything that goes with it? Seeing what he's learned and how he's done it? That's the second best thing to playing. I think.
Films are subjective - what you like, what you don't like. But the thing for me that is absolutely unifying is the idea that every time I go to the cinema and pay my money and sit down and watch a film go up on-screen, I want to feel that the people who made that film think it's the best movie in the world, that they poured everything into it and they really love it. Whether or not I agree with what they've done, I want that effort there - I want that sincerity. And when you don't feel it, that's the only time I feel like I'm wasting my time at the movies.
It's something I've always loved doing. I'm not one of the artists who comes in and just does my bit. I'm there every second of every day. That's my hands-on situation.
Don't get seduced by your own stuff. Don't get high on your own supply. The hardest thing as a filmmaker is when you're watching a film that you've worked on for several years. You know every frame so intimately that holding lots of the objectivity of a new viewer who has just seen it for the first time is the hardest thing. Every aesthetic decision you make - and you make thousands of them every day, have to - in theory, must be done from you being a blank slate. You almost have to run a program, like a mind wipe, every time you watch the movie.
I want to play my best, day in and day out. It's a pride thing for me. I'm going to go out there and dominate the guy I'm playing against every time.
I'm not one of those guys that sits and studies all the stages to see what's gonna be my sort of thing. I sort of play in the moment. Everything is split-second decisions, and I try and make the best out of every possible situation.
The best thing about being a Yankee is getting to watch Reggie Jackson play every day. The worst thing about being a Yankee? Getting to watch Reggie Jackson play every day
I don't keep an ongoing dribble of updates of my day, but I tell little compartmentalized stories every day on Snapchat. I use it much more like making a movie than maintaining a diary. When people watch my 60-second clips, there's a beginning, middle, and end.
I probably learned, being in 'Taxi Driver' before I made my first film, I would come to the set every day just to watch how that film came about. It's like a graduate course: it's terrific. You talk to the cinematographer during the breaks. You ask the electrician why they are doing this.
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