A Quote by Rita Rudner

When you're a dancer, you start with the basics. You don't all of a sudden do a grand jete and pirouette. You start with first position, second, third. — © Rita Rudner
When you're a dancer, you start with the basics. You don't all of a sudden do a grand jete and pirouette. You start with first position, second, third.
I consider myself an actress first, a dancer second, and a singer third. Why? Because the dancer needs a reason to move-that's the actor informing the dancer. So I worked on my acting and gradually developed a singing voice.
So I decided to start a church, for three reasons. First, I hated going to church and wanted one I liked, so I thought I would just start my own. Second, God had spoken to me in one of those weird charismatic moments and told me to start a church. Third, I am scared of God and try to do what he says.
Start close in, don’t take the second step or the third, start with the first thing close in, the step you don’t want to take.
Spread the diaper in the position of the diamond with you at bat. Then fold second base down to home and set the baby on the pitcher's mound. Put first base and third together, bring up home plate and pin the three together. Of course, in case of rain, you gotta call the game and start all over again.
You start out happy that you have no hips or boobs.All of a sudden you get them, and it feels sloppy. Then just when you start liking them, they start drooping.
I think any start has to be a false start because really there’s no way to start. You just have to force yourself to sit down and turn off the quality censor. And you have to keep the censor off, or you start second-guessing every other sentence. Sometimes the suspicion of a possible false start comes through, and you have to suppress it to keep writing. But it gets more persistent. And the moment you know it’s really a false start is when you start … it’s hard to put into words.
Almost all good writing begins with terrible first efforts. You need to start somewhere. Start by getting something-anything-down on paper. A friend of mine says that the first draft is the down draft-you just get it down. The second draft is the up draft-you fix it up. You try to say what you have to say more accurately. And the third draft is the dental draft, where you check every tooth, to see if it's loose or cramped or decayed, or even, God help us, healthy.
You start making movies and people start seeing when you go to places, and all of a sudden you are getting clothes for free and all of a sudden you are getting food for free.
These first few years, it's more trying to figure it out. What's going on in the NBA? Where do I fit in? Then my second year, I'm a player. 'Can he actually start?' I played pretty well my second year. My third year, now I gotta solidify myself. Now I'm here, and it's about winning for me.
When you're at a certain point in your time - age, that is, when you're older - you start to realize that, actually, what you leave behind you does count, and so you start to become fundamentally aware of your own destiny, which sounds very grand. It's not grand at all, actually.
It might be good to be taught the basics like your stance when you first start playing.
Maths is like a ladder - if you miss the first few rungs, you can't jump up, so start with the basics.
If you are going into any manufacturing establishment, don't go there by reason of any influence you may have. Start upon your own merits, and start in some lowly position, no matter what it is. Be a laborer, if you will. I don't know but that is the best way to start.
I taught everyone a very bad lesson at my publisher because they actually gave me deadlines this time and I'm now meeting them. I used to say, "Here's my book; it's six years late." I'm so much faster now, and work differently. With all the years of writing, I think I still draft as obsessively, but I think back to writing. On your first story, you start at draft one. On your second story, you start at draft ten. On your third story, you start at draft one hundred. If you need a hundred and eight drafts, you may write eight instead of a hundred and eight.
When I start writing, the first line might come from reality, but the second and the third one, I have to write it. So this is the genesis of my creation. If I want to know what happens, if I want to find out the secret, I have to write it.
I bring up 'The Heist,' and you can almost cut that record down the middle between songs where the beat came first and the words came second, and songs where the words came first and the beat came second. It can start with a vibe, a beat that drives a story, or it can start with a story and then trying to identify the tone to tell that story right.
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