A Quote by Nadia Comaneci
If I work on a certain move constantly, then finally, it doesn't seem risky to me. The idea is that the move stays dangerous and it looks dangerous to my foes, but it is not to me. Hard work has made it easy.
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Instinct told me it was dangerous. I could handle dangerous. Dangerous and me went back a long way. We did lunch when dangerous was in town.
I tell myself, as sternly as possible, that is how things work here. We do dangerous things and people die. People die, and we move on to the next dangerous thing. The sooner that lesson sinks in, the better chance I have at surviving initiation.
The more dangerous the opponent, the better fight I've fought. It always made me move in ways I'd never moved before.
Collaboration. ... For me, it has informed every move I've ever made. And it saved me in many ways and still does. When things get hard, you can cling to the work.
If a writer is honest, if what is at stake for him can seem to matter to his readers, then his work may be read. But a writer will work anyway, as I do, and as I have, in part to explore this terra incognita, this dangerous ground I seem to need to risk.
Music is made of what we do when we move, and we can only move in certain ways, in certain ranges of tempo because of the inherent constraints that our bodies offer, or you can call them 'affordances' - that's another word for me. It's a little more positive; doesn't make it seem like a limitation, but rather, a set of opportunities. You can say that that's part of music making, but there's also the imagination. The power of the imagination is kind of trumping - sorry to have to use that word.
I used to be a writer with superstitions worthy of a professional baseball player: I needed a certain desk chair and a certain armchair and a certain desk arrangement, and I could only get really useful work done between 8 P.M. and 3 A.M. Then I started to move, and I couldn't bring my chairs with me.
People may think that because I have illustrated and written all these books it must be easy for me, but it's not really easy for me. The drawing part is easy - I love doing it. But continuing to move forward is hard.
Your natural instinct when people are throwing punches at you is to back up. That just makes it more dangerous for you. You'll get hurt that way. You've got to teach yourself to go forward, move your feet and move your head. I'm not going to lie, that was tough for me to learn.
In contemplating what to do with my life, I felt like I had two possible paths: one was to move to New York and work in a design house; the other was to move to Africa and deliver food aid. That's when the idea of the FEED bag came to me. It's for those who want to put their consumer dollars to good use.
Cary Grant was wonderful to work with on stage. He would move downstage, so that as he looked at me the audience had to look at me, too. He knew a lot about the theater and how to move around. He was very secure.
The cosmic humor is that if you desire to move mountains and you continue to purify yourself, ultimately you will arrive at the place where you are able to move mountains. But in order to arrive at this position of power you will have had to give up being he-who-wanted-to-move-mountains so that you can be he-who-put-the-mountain-there-in-the-first-place. The humor is that finally when you have the power to move the mountain, you are the person who placed it there--so there the mountain stays.
Everybody just uses the one-move rule without realising when it is too late to actually move and cross over and when it is actually being dangerous.
To be recognized for your hard work is a true honor. An Academy Award nomination is one thing that, five years later, I can't form a sentence about. It has not made me feel like I can work any less hard. It makes me feel like I have to work 100 times as hard, to even be as remotely good, to work through an experience that could take me through that again.
I think it's the strength of the idea that's made Donors Choose work, not me. I mean, I'm determined, and I work hard, but so does everyone else.
In some mysterious way woods have never seemed to me to be static things. In physical terms, I move through them; yet in metaphysical ones, they seem to move through me.
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