A Quote by Judd Trump
When the frame's safe, I like to let myself go a bit; play a few more entertaining shots rather than just getting the frame over and done with.
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I've just aimed to go out with a clear mind; to try not to premeditate my shots and if I'm going to play a few big shots I try to have a few deliveries under my belt first; have my eye in a bit better.
The more you frame the marathon as a stressful experience, the more negative messages you'll receive. But it's just as easy to frame it as a positively challenging journey.
When you get a typical injury, you're given a time frame; you're gradually working towards getting back. With concussions, there is not generally a time frame or a span where you're feeling better. You feel like you're getting better, and it can be one day and you're back to where you started.
Over the years, I think, people - actors, writers, whatever - lose their frame of reference. Their frame of reference is based on somebody else who did this or did that. Performances. So it just becomes a reflection of what already works. Like a warm-up. And that's an invitation to be inauthentic.
You hear a few people saying that, you know, maybe some of the past male players like to watch me play or whatever else, just because I play a bit differently and maybe they can relate to it a bit more with a bigger forehand rather than a backhand, good serve and whatnot.
You tend to compose things more in the middle of frame in 3-D than you would in a conventional frame. You can really see composition in 2-D but in 3-D your composition is much more complex. Everything has to be artificially enhanced. But you do gain something else with 3-D: you have a sense of space and heightened reality.
If you're asking me what I love, it's that point where I'm just scribbling and trying to make myself laugh and trying to outrage myself. Getting in that frame of mind where the more you laugh the more you laugh - I think that's what I'm attempting to do.
People think it is such an easy life, and you just go get ready, and someone does your hair and make up, and all you have to do is say a few dialogues. But there is lot more behind it. You are getting into a particular frame of mind to get into a scene; you have to get your emotion right.
I just staunchly bought one frame during a two-for-one frame sale and barely left the store alive.
As Aristotle said, happiness is not a condition that is produced or stands on its own; rather, it is a frame of mind that accompanies an activity. But another frame of mind comes first. It is a steely determination to do well.
No bit of the natural world is more valuable or more vulnerable than the tree bit. Nothing is more like ourselves, standing upright, caught between heaven and earth, frail at the extremities, yet strong at the central trunk, and nothing is closer to us at the beginning and at the end, providing the timber boards that frame both the cradle and the coffin.
In a car you're always in a compartment, and because you're used to it you don't realize that through that car window everything you see is just more TV. You're a passive observer and it is all moving by you boringly in a frame. On a cycle the frame is gone. You're completely in contact with it all. You're in the scene, not just watching it anymore, and the sense of presence is overwhelming.
It is a good principle in science not to believe any 'fact'---however well attested---until it fits into some accepted frame of reference. Occasionally, of course, an observation can shatter the frame and force the construction of a new one, but that is extremely rare. Galileos and Einsteins seldom appear more than once per century, which is just as well for the equanimity of mankind.
When I go on set, it's very important, the lenses I choose, what I choose to frame or not frame and that's how I make my movies.
I wasn't an academic looking in books for ideas. But I educated myself about historical work that was similar to mine, to provide a frame of reference that wasn't the usual frame of reference of the New York art world and Europe.
I think about photographs as being full, or empty. You picture something in a frame and it's got lots of accounting going on in it-stones and buildings and trees and air - but that's not what fills up a frame. You fill up the frame with feelings, energy, discovery, and risk, and leave room enough for someone else to get in there.
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