A Quote by Michelle Carter

Rio has been absolutely epic. I did leave my heart out there, and I wanted to do everybody proud. — © Michelle Carter
Rio has been absolutely epic. I did leave my heart out there, and I wanted to do everybody proud.
We had to learn that in London and in Rio that we just weren't enough at that point. Did we believe it in that moment? Absolutely. We had to go one extra step to figure it out.
Did I go out and make calls in those games that the NBA wanted me and the crew to call? Absolutely. Did it put a team at an advantage and a disadvantage? Absolutely and that's how I was able to win the bets so easily.
I did 'Pines,' and everybody wanted me to be the bad boy. Then I did Tony in 'Brooklyn,' and everybody wanted me to be the sweet kid. So I just want to keep everybody on their toes. Basically, that was the thought process.
Brazil obviously connotes something in my mind to do with desire, sexuality and freedom. In fantasy, in mythology, Rio is the iconography of the imagination. In essence, we're all sex tourists. I've never been to Rio and I've never been to a psychoanalytic convention, but in a sense, Rio is symbolic of desire, some sort of ultimate ecstasy.
Whether it's this year or next year, I don't want to leave basketball limping out of basketball. At the end of the day, we're all men and we all look at ourselves every morning and you have to ask yourself, Did I leave the way I wanted? Did I do everything I possibly could do to leave the way I want?'
By the time I was 14, my most burning ambition was to leave my home, leave my neighborhood, leave my city. I kept it a secret wish. It was easier done than said. It wasn't only that I wanted to leave Chicago - I wanted to live in New York City. And I did - for a time.
I mean, I've always been a libertarian. Leave everybody alone. Let everybody else do what they want. Just stay out of everybody else's hair.
I put out 'Rhythm & Bricks,' which showed my versatility, and I had a lot of melodic songs on there, then I had a lot of street songs on there, and I just wanted to know what everybody wanted from me. I did put that out so that everybody could get a feel, so 'Cut It' just happened to come out of there.
If I hadn't won at the Worlds and claimed so many ranking points, I would have been struggling for Rio. I'm in a good place now, though, and having the chance to fight for gold in Rio after everything I've been through would be a dream.
Pa did not like a country so old and worn out that the hunting was poor. He wanted to go west. For two years he had wanted to go west and take a homestead, but Ma did not want to leave the settled country.
I was familiar with that and 'Rio Bravo.' 'Rio Bravo' was what John Carpenter did, that brilliant move of taking a western and turning it into an urban flick. And from there you got, you know, all the cop genre movies of the time.
Cinemascope has become synonymous with 'epic,' and absolutely if you're shooting armies and certain kinds of vast landscapes, you do want that panoramic canvas to work on. But if you look at art history there's not a whole lot of epic paintings that are in that aspect ratio.
Rio is an energetic, vibrant place, full of beauty and nature. But we face the kinds of problems any developing metropolis does - with pollution, traffic congestion, poverty. Distribution of green areas, for example, is not uniform. Madureira, the heart of the suburb in Rio, is a concrete jungle.
Sometimes you have to make a complete disaster of your life in such an epic way that it will be absolutely clear to you what you've been doing.
I never really thought about what kind of career I wanted to map out for myself. I just wanted to do work that spoke to my heart. 'Atlanta' definitely did that.
To make three films out of one shortish book, they have to turn it into an epic, just as 'Lord of the Rings' is an epic. But 'The Hobbit' isn't an epic: its tone is intimate and personal, and although it's full of adventures and excitement, they're on a different scale to those of the bigger book.
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