A Quote by Julian Bream

I practiced two or three hours, sometimes none, sometimes six. It was very varied. — © Julian Bream
I practiced two or three hours, sometimes none, sometimes six. It was very varied.
I demand perfection in what I do, and I practice very hard before I give a concert-sometimes three to six hours a day.
There are times as an actor when you don't work for two months, sometimes three or sometimes six, and the only thing that's going to keep you sane is if you give back and live your life. I've definitely gone through that. It's like, 'Okay, I'm out of work for two months.' That's two months I can paint.
You are a slow learner, Winston." "How can I help it? How can I help but see what is in front of my eyes? Two and two are four." "Sometimes, Winston. Sometimes they are five. Sometimes they are three. Sometimes they are all of them at once. You must try harder. It is not easy to become sane.
I'd get a train to some town and wander about to find a decent spot. Sometimes I'd play for three hours; sometimes I'd get moved on after three songs.
Since I've been home-schooled since sixth grade, I've practiced six to seven hours a day. I wake up, practice for three hours in the morning, eat lunch, and then go out and play eighteen or more holes.
A normal day of working in Burbank is 14 hours, sometimes more. On 'The Revenant' sometimes it was eight hours, but we were shooting only five. So they were short days, but they were very strenuous because of the weather. And it was very dark.
I spend around three hours on the track and two hours in the weight room, five or six days a week.
Now, everybody knows the basic erogenous zones. You got one, two, three, four, five, six, and seven. ... OK, now most guys will hit one, two, three and then go to seven and set up camp. ... You want to hit 'em all and you wanna mix 'em up. You gotta keep 'em on their toes. ... You could start out with a little one. A two. A one, two, three. A three. A five. A four. A three, two. Two. A two, four, six. Two, four, six. Four. Two. Two. Four, seven! Five, seven! Six, seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! Seven! [holds up seven fingers]
I write 2,000 words a day when I write. It sometimes takes three hours, it sometimes takes five hours.
I practiced for at least two hours every day for twenty years, before then I practiced maybe four to five hours a day, and before then 14 hours a day. It was all I had ever done.
I'm doing four hours of gymnastics training a day, six days a week and then an extra two to three hours in a fitness center as well.
Sometimes they work, and sometimes they just won't. Sometimes you get hung up on them. When that happens, you just throw it back, and maybe come back to it two or three weeks later.
So sometimes things are ahead and sometimes they are behind; Sometimes breathing is hard, sometimes it comes easily; Sometimes there is strength and sometimes weakness; Sometimes one is up and sometimes down. Therefore the sage avoids extremes, excesses, and complacency.
When I first started playing, we practiced nine hours a day. Five and a half to six hours of those were working on the fundamentals.
Sometimes there's no qualitative difference between two-and-a-half and three-and-a-half hour shows. It's just a matter of how long you do it. It's not like the show must be three hours and 30 minutes to work. That's just not the case.
Like a lot of us, sometimes I'm preaching to the choir, and sometimes my voice doesn't even get heard at all. Sometimes I think that what I'm writing now might not even have an impact for the next three or four generations. Sometimes I sit there and write, and I think, "It'll be two hundred years before they get what I'm writing about."
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