A Quote by Michael Keaton

I have a lot of energy, and I move around a lot in my club act. — © Michael Keaton
I have a lot of energy, and I move around a lot in my club act.
Sloths have low metabolisms, so they have to move slowly in order to conserve energy. However, they aren't aimless or "lazy" and they actually move around quite a lot - just very, very slowly.
I'm not at the hoarder stage, but there are two or three storage units here and there. I have things that a lot of people put a lot of heart and soul into, a lot of mental energy. I'm good at keeping those things. When it comes to pop culture, as you move through this fast lane, you wonder where it all goes and how you can hold onto it.
'Jersey Boys' was a lot of running around and a lot of energy, but it was more stylized movement.
I mean, this is basketball, you have a lot of different teammates and you move around a lot, to find true friends is something special.
The first club that reopened in New Orleans was Caesar's, and they called me immediately and said let's do a regular night with you here. So we started FEMA Fridays. It was the only club open in the city, and a lot of people had a lot of money from Katrina, the checks and stuff, so the joy inside that club - I don't think that'll ever come back.
I was born with a lot of horsepower. There was a lot cooking inside me, a lot of energy, and Dad was a strong man by will and by intelligence, and the combination of us was almost bound to result in periodic explosions. He and I disagreed politically, very violently, and things would get hectic around the house.
I don't want to be knocked out. But the contact and the focus and the energy I get from sparring gives me energy to make movies, energy to be a dad, energy to be a friend, and, you know, makes me feel, probably, a lot younger and behave a lot younger than I am.
I have learned a lot a lot in my three years at Gladbach and developed a feeling for what is best for me. I owe the club a lot.
If you move here from somewhere else, I often think if I move to Germany, for example, or if I move China and I go worship there I will understand and I'll be willing to give up a lot of my culture because I'm in somebody else's homeland. So I'm going to have to act German or Chinese, whatever that might mean.
There's a lot of electronic surround-sound music, and I've done a lot of work where I write music for other people to move around a space.
What is missing in a lot of urban music is perspective. You hear a lot of regurgitated perspective. It's a lot of: out at the club. Had drinks. Patrón. Big booties. It's this regurgitated idea of living in this, I don't know, one-night-stand moment that always starts at the club and Patrón. And so perspective, perspective, perspective is what I'm an advocate of.
There's so much energy exchange [in conduction], so you get back a lot, of course, but you also have to give a lot. It's kind of high-energy thing.
I enjoy a third act, and I like stories with ending. A lot of my frustration with serialized storytelling is a lot of shows don't have a third act. They have an endless second act, and then they find out it's their last year and often have to hustle to invent a third act, but they were never necessarily organically meaning to begin with.
Do you do that a lot? Move on?" "Maybe. But only because I travel a lot." She taps put a beat on the steering wheel, audible only to herseld. "Or maybe you travel a lot because it lets you move on." "Perhaps." ........ I look out the window. The jungle is everywhere. I look back at her. "Can you move on from something when you're not sure what it is you're moving on from?
It was great fun. We had gone on tour in between the sessions and reconnected with the audience and got a lot of energy back from them, a lot of positive energy.
I come from a country whose idea of masculinity is quite extreme, and I've grown up around a lot of that energy. I've been part of that a lot. And it's very draining; it's quite tiring trying to be macho.
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