A Quote by Joey Chestnut

I think that happens to anybody, when they train for things over and over again, and then they just realize, 'What do I train for now?' — © Joey Chestnut
I think that happens to anybody, when they train for things over and over again, and then they just realize, 'What do I train for now?'
I did kung fu from when I was nine to 13. You have to be really careful but you want to be able to make it look eventually as though it's just a part of you. So, you train over and over and over again.
Usually I'll drive to certain locations over and over again, over a course of months really. And then it might just be I hit it at the right time, and the right light. And then I might go to that location over and over again, and then what happens in that lag time where - the image sort of locks in - all of a sudden I see it in my mind's eye.
If I'm really considering doing film from now on then that is the smart thing to do, or you can go either way. You can just do the same character over and over again and make a different comedy like over and over again.
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.
When I was younger, I didn't really train for the sprint - I trained to get over the mountains. I have to train it now I'm getting older. But the sprint is more born, rather than made.
It was a huge zoo, spread over numberless acres, big enough to require a train to explore it, though it seemed to get smaler as I grew older, train included. Now it's so small it fits in my head.
My brother and I used to try to derail a train over and over again. We didn't know any better.
Anything you train can be improved upon. If you do it over and over again, your body is going to remember these moves and not be surprised in the game.
My first workout starts at 9:00 a.m. every morning. I'm in the gym from 9:00 a.m. to 11:00 a.m. We do strength conditioning, stretching, pretty intense workouts in the morning. We go back in the gym at 1:00 p.m. and train until 5:00 p.m. It's all routines, repetition, doing the same skills over and over again, trying to polish and perfect everything. I head home, eat dinner, spend some time with my wife and start over the next day. I train about six days per week.
I don't think you can ask anybody in any walk of life to do anything at a championship level without doing it over and over and over and over and over again in preparation.
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.
If a railroad is bent, the train shall turn over; if a man's character is bent, he shall turn over just like that train.
I always listen to music when I write! I basically make a playlist for every essay; sometimes it's just one song, or three songs, over and over and over. I sort of find the emotional pitch of the piece, and then match music to it, and then the music becomes a shortcut to the feeling, so I can enter it and work anywhere: on planes, cafes, at work, the train.
Eventually, if you're the train that's leaving the station, people will race to catch up with you. I think that's one of the things I've figured out. You can't wait for permission to act, you just do; then people are like, "Oh, look at that person just doing over there. Maybe I'll come join them."
If a train doesn’t stop at your station, it’s simply because it’s not your train. Don’t try to flag down the conductor and convince them to stop there, even if their own map says that they should just keep going. You may not realize it, but there’s another train trying to come toward you, unable to get into your station because a train that doesn’t even belong there is being delayed there by your intensity.
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.
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