A Quote by Julia Mancuso

I knew I really had to put down a good run. I played it safe, and took risks when I could, and I came in the fastest, I guess. — © Julia Mancuso
I knew I really had to put down a good run. I played it safe, and took risks when I could, and I came in the fastest, I guess.
My dancing came about as a way to be cool, actually. I knew early on that I was not a street kid. I didn't have the moxie, what it took to run the streets with the dudes that I grew up wanting to emulate. But I had a huge need to be accepted, so I found that I could be the party king. I did drugs really well, and I partied really well.
The type of football I played at Everton, the fans said it wasn't good enough and I would say the same - I knew it wasn't good enough for Everton - but I knew I had to get them in the position where they were safe.
When they had eventually calmed down a bit, and had gotten home, Mr. Duncan put the magic pebble in an iron safe. Some day they might want to use it, but really, for now, what more could they wish for? They all had all that they wanted.
I always could hit, but fielding I had to work at. I took as much pride in fielding as hitting. I became a complete ballplayer. I knew when to take the extra base. I knew about the outfielder hitting the cutoff man. I knew when and how to bunt. I knew when to hit-and-run.
I remember the last season I played. I went home after a ballgame one day, lay down on my bed, and tears came to my eyes. How can you explain that? It's like crying for your mother after she's gone. You cry because you love her. I cried, I guess, because I loved baseball, and I knew I had to leave it.
I knew I could play well on the grass, but I really played so well today. I knew exactly what I had to play to beat her. I just did everything I could in the moment. I was very focused for every point. I knew that I had to go forward for every shot I was playing to push her back, and yeah, I did it.
Stanley Kubrick knew we had good graphics around MIT and came to my lab to find out how to do it. We had some really good stuff. I was very impressed with Kubrick; he knew all the graphics work I had ever heard of, and probably more.
When I was six years old, my parents took me to this farmers' market with a petting zoo. They put me on a pony and, for some reason, it took off at a run and they had to chase it down. They tell me it was kind of traumatic.
I had two things I could do: I could run over you, and I could put a good stiff arm on you. That was about it.
We're just one cog in this giant machine. You show up and look at all the other cogs like, "Wow, everyone is the best at what they do." You're in really good hands. And that frees you up to play and feel safe, and you can take chances, creatively. You can take risks. I want to show up to work and take risks. I don't ever want to play it safe.
I knew that, to be the best right-back in the world, I had to improve my fitness so I could run up and down constantly for 90 minutes.
In 2005, I played Count Fosco in 'The Woman In White' on Broadway. It was a disaster. I was physically run down and terribly homesick and I just knew I had to leave. I lasted three months before the producers released me.
Casting is really weird. Honestly, when Alan Ruck's name came up - and I've worked with Alan before - I went, "Yes, he's perfect." He came in and read for us, which was really sweet of him because he didn't have to, and he nailed it in seconds. We knew exactly who we had. That stuff is really good and fun.
I met this wonderful guy who owned an old pub near the Eiffel Tower called Malone's (he's French but it's an Irish name). He had a cellar with a piano and told me I could use it whenever I wanted to. I played lots of gigs down there. When I came back I played a show at the Knitting Factory.
As a teenager in Brooklyn Quentin had often imagined himself engaged in martial heroics, but after this he knew, as a cold immutable fact, that he would do anything necessary, sacrificing whatever or whomever he had to, to avoid risking exposure to physical violence. Shame never came into it. He embraced his new identity as a coward. He would run in the other direction. He would lie down and cry and put his arms over his head or play dead. It didn't matter what he had to do, he would do it and be glad.
We took risks. We knew we took them. Things have come out against us. We have no cause for complaint.
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