A Quote by Marcel Dionne
The thing is, playing with us, whoever was the left winger had to come to play every night because that's the way it was. Charlie came in and he just fit that role - big and strong around the net.
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I was never a left-winger, actually. I was a pretend left-winger because it was more interesting than being a right-winger.
America used to have a strong 'moral safety net' for its people. Today that net is badly frayed, not only because families are disintegrating but also because the church doesn't play the same role that it once did in many Americans' lives.
Our main thing we'd have to entertain us: All my uncles would come over, and we'd sit around the living room on a weekend night, and we'd play. That was a big event for me, getting to play. We never did have any percussion.
Every role you play is literally - and I've said this before - every single role that you play, the only way you can connect to that character is because that was a piece of you that was scattered around that yard, almost like we got caught up in some whirlwind
Every role you play is literally - and I've said this before - every single role that you play, the only way you can connect to that character is because that was a piece of you that was scattered around that yard, almost like we got caught up in some whirlwind.
I actually prefer playing as a left winger rather than a striker, but I just want to be very clear that I'm willing to play in either position.
Charlie had Sophie strapped to his chest like a terrorist baby bomb when he came down the back steps. She had just gotten to the point where she could hold up her head, so he had strapped her in face-out so she could look around. The way her arms and legs waved around as Charlie walked, she looked as if she was skydiving and using a skinny nerd as a parachute.
The supporting thing can be harder to pop in and out of. The hardest thing is the people who have to come in and play, say, the bartender for a day - that's a lot harder than playing the lead role. You have to pop in and get it right. It's a lot of pressure to just pop in there and fit in and find your footing really fast.
For us, the biggest thing is casting and making sure that every role has the right fit and that person understands the role, and then, really, it's pretty easy. You just try to stay out of the way and say 'action' and 'cut' - don't say 'cut' too soon. Let it happen.
I'm here because they've killed almost all of us, but not all of us. And that's their mistake, son. That's the flaw in their plan. Because if you don't kill all of us at once, whoever's left are not going to be the weak ones. The strong ones- and only the strong ones- will survive. The bent but unbroken, if you know what I mean. People like me. And people like you.
Every team I play, I'm playing them like we playing the Golden State when they had Kevin Durant. Every point guard I play, I'm playing Steph Curry. Every shooting guard I'm playing, I'm playing James Harden. Every three-man I'm playing, I'm playing LeBron and KD.
I want my opponents to look at me across the net and just not want to play me because I look so fit and amazing and strong. So that's always my goal.
Every time we think about being happy again, it hurts to be alive.
Because it seems an inordinate thing for us to wish for.
And because we think that day will never come for us.
And that's why the only thing we can do for now...
...is just try to get through each night.
It was even hard to imagine I was going to play in the NBA, because so many guys playing in Europe are not even getting to the Euroleague and everything. But everybody wants to play in the NBA. So when draft night came, it was a dream come true.
I was always the smallest role in community theater and school plays. I always had two lines - I was the kid that came on stage and said one thing and then left, and that was my part for the play.
I think the success of every novel - if it's a novel of action - depends on the high spots. The thing to do is to say to yourself, 'Which are my big scenes?' and then get every drop of juice out of them. The principle I always go on in writing a novel is to think of the characters in terms of actors in a play. I say to myself, if a big name were playing this part, and if he found that after a strong first act he had practically nothing to do in the second act, he would walk out. Now, then, can I twist the story so as to give him plenty to do all the way through?
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