A Quote by Kei Nishikori

It's not easy to focus again, you know, after playing three or four hours. I don't know, I do it well somehow. — © Kei Nishikori
It's not easy to focus again, you know, after playing three or four hours. I don't know, I do it well somehow.
When I am working, I know this is my work so I can be focused for three hours, four hours, or whatever, and then outside I am a person like you or the children playing soccer in the street.
When I am writing a novel, though, then it's usually three or four hours a day. Ideally, right after lunch until three or four, but sometimes picking up again around ten, going until a touch after midnight. I rarely write in the morning, unless I'm on deadline. I do like rewriting in the morning, though. Guess it's the way my brain's put together. Or, the way it's falling apart.
My first-ever meeting with Abbas-Mustan sir was for three-four hours! I haven't met anybody for so long, even those who I know well.
I had a very strange career. I mean I went from playing to 150,000 people in 1983/84. Three or four years later I was playing to four people, you know, in Melbourne. I thought - bit strange, you know bit odd, bit erratic.
Sometimes after marriage, one really gets to know his or her partner after three or four outings. But for us, we knew each other's eating as well as living habits.
Surviving the grind of 18-hour days and getting up at four in the morning to work out for an hour so I'd have the energy to do it again the next day. I did not know I had that discipline. I did not know I had the discipline to learn a seven-page scene in three hours to shoot that day or the next day. I didn't know that I was capable of realizing that potential.
Four hours of makeup, and then an hour to take it off. It's tiring. I go in, I get picked up at two-thirty in the morning, I get there at three. I wait four hours, go through it, ready to work at seven, work all day long for twelve hours, and get it taken off for an hours, go home and go to sleep, and do the same thing again.
You have to stand every day three or four hours of visitors. Nine-tenths of them want something they ought not to have. If you keep dead-still they will run down in three or four minutes. If you even cough or smile they will start up all over again.
My father left us three times when I was between three and six. You just couldn't tell - suddenly one day he would leave and then maybe he would come back after six months without telling you why. And then maybe he would disappear again after a year and it's very difficult to take when you are four or five. You just don't know how to handle it and nobody in the family wants to talk about it. My mother didn't know how to tell us and she needed to work because we needed money to live.
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.
I'm so sick of my own music that I don't know if I can edit another video, which involves hundreds of hours of listening to your own song again and again and again. It becomes so grating after a while.
Dancing isn't easy, and to just jump into three to four hours of rehearsals a day is a lot.
Can't nobody do what Fetty Wap does. So when I go to the studio, it may be four to five hours max, probably three days out the week. I used to go to the studio for 10 to 15 hours, and I would do five to 10 songs. Now I go for four to five hours and I do, like, 15 to 20 songs. I'm an ad lib guy. Most people know me for my ad libs.
Do you know how many athletes go broke three years after they stop playing? I want to help them hold on to their money. I mean, I know about budgets.
All of us have just got to find that time to look after our bodies. That helps us make sure that our mind is sharp. I know that when I'm feeling great and really fit, I can get in three or four hours more of really productive work.
Shooting with kids you only have three hours on set per day, so you have to know what you want. You have maybe four or five takes to get a scene.
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