A Quote by Jorge Posada

If I see a problem (in the clubhouse), I say something right away. I don't wait two or 
three days. — © Jorge Posada
If I see a problem (in the clubhouse), I say something right away. I don't wait two or three days.
Filmmaking these days is so technically advanced. When I started off, we had to wait for two to three months to see the rushes. But now you can see every scene on the monitor and you can see your work immediately.
I don't want to be in the clubhouse, if I have the coronavirus or something like that, coming into the clubhouse and spread to everybody, that's not good, right?
I'm not going to say what was being used in the clubhouse; whatever happens in the clubhouse stays in the clubhouse. But it was not like it was in your face.
I'm not going to say what was being used in the clubhouse; whatever happens in the clubhouse stays in the clubhouse. But it was not like it was in your face
When you're criticized for something, it's best to wait two or three years and see.
I'm not an impulse shopper. I will wait three days after I see something. Am I still thinking about it? Then I'll get it.
The ideal time for writing a [television] script is four days, though sometimes it has to be two or three days depending on the deadline. If it's two days, sometimes there are things I see that don't work as well. If I have two weeks, the scripts get kind of flabby and lack the adrenaline that a sense of deadline fills you with.
Try to say nothing negative about anybody for three days, for forty-five days, for three months. See what happens to your life.
Being away from loved ones can be very hard. Taxing. With a tour, you don't know whether you'll see each other in three weeks, three months, or three days.
I want to see movies I can walk away from and say, 'Wait, what happened there? Hold up, what did I just see? What?' and then it connects to something that you personally, unequivocally know to be truth.
Very often people looking at my pictures say, 'You must have had to wait a long time to get that cloud just right (or that shadow, or the light).' As a matter of fact, I almost never wait, that is, unless I can see that the thing will be right in a few minutes. But if I must wait an hour for the shadow to move, or the light to change, or the cow to graze in the other direction, then I put up my camera and go on, knowing that I am likely to find three subjects just as good in the same hour.
If I think something's a waste of time or inappropriate I don't wait to point it out. I say it right away. It's real time. So you might hear me say 'That's the dumbest idea I have ever heard' many times during a meeting.
All that means is that something devastating can happen to you today or to your family & all you can do is cry about it or panic or just be grief-stricken about it; but a year or two from now or maybe ten years from now, or maybe two months or two days, you might be able to see the humor in that problem.
I always say it takes three weeks to know a character and three months to own it. And I think that's probably true of every theater artist. If you really want to see a performance of the show, wait three months.
The hardest thing about free agency is sometimes you want it right away but you have to wait and see see what happens.
I'm kind of impatient. I like to see things realized and not just work on a project for three years and wait, wait, wait. I try to keep myself busy.
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