A Quote by Mike Tyson
He didn't have no respect as a professional fighter should, no class. I was going to make him pay with his health for everything he said... I wanted to do it very slowly. I wanted him to remember this for a long time.
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I wanted to walk over there. I wanted to curl up beside him, lean against him, talk to him. I wanted to know what he was thinking. I wanted to tell him everything would be okay. And I wanted him to tell me the same thing. I didn't care if it was true or not- I just wanted to say it. To hear it, to feel his arms around me, hear the rumble of his words, that deep chuckle that made me pulse race
Then I dropped my forehead against his and sat there for a long time, as if I could telegraph a message through our two skulls, from my brain to his. I wanted to make him understand some things. You know all that stuff we’ve always said about you?” I whispered. “What a total pain you are? Don’t believe it. Don’t believe it for a minute, Marley.” He needed to know that, and something more, too. There was something I had never told him, that no one ever had. I wanted him to hear it before he went. Marley,” I said. “You are a great dog.
I could have knocked him out in the 3rd round but I wanted to do it slowly, So he would remember this night for a long time.
She was his soulmate, as much a part of him as the very flesh and bone that made him. She was with him, in him, in everything he did. She was everything he wanted from his life, the very measure of his dreams.
Because my dad was often gone, I never wanted to do anything that would make him stay away even longer. I became extra careful about what I said and how I said it, afraid he'd think I was angry or didn't love him. And the truth is, I was angry. I missed him and wanted him there.
I wanted to be an endurance athlete from a young age. I remember being in a careers class at school and saying I wanted to be a professional athlete and the teacher replying, 'You're not going to make it; it's not possible.'
Adrian Granados is a world-class fighter. A lot of guys duck him, but I wanted to fight him because that's what I'm about.
When the passer's back foot hit the ground on his setup, I wanted the ball gone. If no one was open, if he had to buy time, I wanted him to bounce in place. And then I only wanted him scrambling as a last resort. When you bounce, you maintain your balance. When you start moving, you create an unnatural position for yourself. I want everything to be natural.
When I first had a child, I really had a hard time trying to figure out how it was all going to fit together. Because I felt like, when I was with him, I wanted to be writing and I should be writing. And when I was writing, I felt like I should be with him, and wanted to be with him. So I was unhappy a lot.
I kissed him, trying to bring him back. I kissed him and let my lips rest against his so that our breath mingled and the tears from my eyes became salt on his skin, and I told myself that, somewhere, tiny particles of him would become tiny particles of me, ingested, swallowed, alive, perpetual. I wanted to press every bit of me against him. I wanted to will something into him. I wanted to give him every bit of life I felt and force him to live.
It's all about respect; he's looking for respect from his buddies. In the last one he just wanted to hang out, to be part of the group, but this time he wants more from his friends. And without giving the story away, he finally gets something that he has been looking for when the mini sloths kidnap him and take him to their tribal area. He gets to be the Fire King and they worship him and there is an amazing scene with a "call and response" sequence in the style of Cab Callow [the legendary American jazz singer and band leader] between him and his audience.
I had this idea for a long time to make a film about a poet in Paterson named Patterson. I wanted him to be working class. Eventually I thought a bus was a perfect visual way to move him, to drift him through the city, to have a measured kind of routine lifestyle. And all these things kind of congealed into the film "Paterson" eventually.
I didn't get a chance to meet Glen [Beck] for this movie. I did meet him a few years ago, coincidentally, before any of this happened. But I've been familiar with his work, so I felt I wanted to get it right. I wanted to honor him. I respect him and I think the way he does his job is admirable. Yeah, there was an added incentive. I wouldn't call it pressure, but incentive perhaps.
I love Larry Bird, but I don't agree with him. I love him and respect everything about him. I learned a long time ago, and I've made this statement: Coaches don't lose their expertise and ability to make the calls.
I really wanted to work with Luc Besson. I'm a big fan of his. Did you ever see 'The Professional.' It was very violent. But a fabulous story, a fabulous movie, very well done. So that and two or three other projects of his that I've seen, I just thought if I had a shot to work with him I wanted to do it.
Xavier McDaniel made me respect him. I thought I could do anything I wanted to. He grabbed me one time and almost choked me out. He said, 'You're going to do this. You're going to go get coffee. You're going to go get doughnuts.' It's a game of respect.
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