A Quote by Richard Bach
There's so much to learn! And just when we think, "I've got it. I really understand what's going on," we're shown a whole new stage set on which to play.
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Somebody told me about a band that works out their whole set as if it was one song. They learn the whole set as one piece, so they know how the dynamics of it work. It's really difficult to do, and you can only really do it while you're on tour, as being in a rehearsal studio is not the same as being on stage in front of an audience.
Case (Keenum) is going to be the quarterback. We’re going to give him a chance to see how he can perform. I think the jury is still out. He’s got a lot of ability. He’s shown some flashes of brilliance and then he’s shown some rookie mistakes. We’ve got to see if we can improve, eliminate those mistakes, minimize those mistakes and continue some of the outstanding play that (we’ve) seen and see whether we think that he can be a starting quarterback in the NFL. At this point, we really don’t know.
We just feel like history repeats itself. You ain't never going to see nothing brand new; you're only going to see when records are broken. And we're here to just set records and set trends and follow the footsteps that have been shown to us.
I think it's my job to like any character I play - to understand and appreciate a character, to look at the world as much as possible from their point of view. I don't look at it just technically: learn the lines, figure out what gestures I want to bring and play, and that's it. I like to learn as much as I can about the person, and see what happens.
When I got traded to the California Angels, I really wasn't that excited about going to the Angels because it meant changing leagues and also a whole new set of teammates. But shortly after I got there I realized that it was one of the best things that ever happened to me.
I don't know how much of a natural human I am. Y'know, the truth is, I never set out to do that, and I don't think of myself like that. I don't think like that. It's not really about promotion - I don't really understand the idea of promotion, talking to a camera for more money. That's just money. And I like money, don't get me wrong. I don't know. I don't get it. I don't understand it as much as you don't understand me, I think.
Noam Chomsky is, in some ways, a victim of this new millennium we live in because you can't pull a sound bite from that guy and understand what he is talking about. You have to hear the whole paragraph. You have to hear the whole page. You've got to hear the whole conversation if you really want to understand it and that could change your life.
I don't know. I feel really lucky. I've just got work in the way that I really enjoy working. That's not too much fuss. Just getting up and going on set every day.
I feel like Rae Sremmurd is just a whole new sound culturally. People don't understand, but they learn to understand. The melody choice is different and everything.
I don't ever want to do a movie where you shoot it on a motion capture stage. I just don't like taking the reality out of it. I like being on the set in real environments. I don't like shooting on green screen. I think it gives the actors so much more to play with when there's real stuff happening on the set.
The Orient that appears in Orientalism, then, is a system of representations framed by a whole set of forces that brought the Orient into Western learning, Western consciousness, and later, Western empire.... The Orient is the stage on which the whole East is confined. On this stage will appear the figures whose role it is to represent the larger whole from which they emenate. The Orient then seems to be, not an unlimited extension beyond the familiar European world, but rather a closed field, a theatrical stage affixed to Europe.
Having my dad play for the Falcons, what it did was really to expose me to a whole bunch of other elite-level athletes, which I think gives me an advantage and allowed me to understand what goes into sports. It is more than going out onto the field and going out onto the ice and competing.
The whole visual language of the movie is developed way before we get to set. Especially when you're doing visual effects and you don't have a lot of money to mess around, which we didn't, you have to really preplan everything. Pretty much every shot in the film was figured out months before we got to set.
I learn the whole time. I think it would be dull if I thought I was going to work and wouldn't find something new. We always learn.
I think if you're doing a play, you're rehearsing enough that you get to a point where it's freeing again. But in a movie, if you rehearse too much, now you've just shown everybody what you're going to do. And any element of surprise or impulsiveness is taken away.
When I was in school, I was very much into just sports, mostly basketball, and didn't really see myself as much of a student. But once I got into college, I figured I wasn't going to be play beyond college. I started to think what was I going to do, since I wouldn't be able to make a living with basketball. There were a couple of things I liked to do. I wrote poetry, spoken word mostly.
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