A Quote by Rob Gronkowski

Whatever's asked of me, I'm just going to go out there and perform my routes and how I've been coached all week, perform in the running game, pass blocking, run blocking, whatever it is.
Your run blocking looks pretty similar to what the pass blocking looks like when you're going with the play-action pass. So you really do have an opportunity to get really good at it quickly.
In order for me to perform the best I can out on the field, I have to fuel my body with the proper nutrients to be able to do all the running. I'm running four or five miles every game, so it's a lot. Even at halftime, I take electrolytes and have half a peanut-butter-and-jelly or whatever is sitting there just to keep my engine running.
I just wanted to perform. I just wanted to perform in whatever capacity, whether it was acting, singing, dancing, comedy - whatever it was, I just loved it and felt at my absolute happiest when I was performing for people.
I always go into a blocking rehearsal with an anchor, with a blocking plan. And sometimes they'll step into the room and they'll be in costume and you're like, "That sucks, that's not going to work. Let's think of something new."
Anytime I can get into a situation in which I'm running routes, I love it. I mean, I'd go out in the streets and just run some routes.
Ultimately your job as an actor is to perform however you're being asked to perform and there's many different procedures as an actor that you're going to run into that you should be prepared for and be ready to go to work and do the best you can and give the director the best thing you can to hopefully give him things on that day that could be shot preserved and out into a canned, then when they go into the editing room that's where a movie's made.
Quite simply, if you're feeling anxious, angry, a sense of shame, whatever it is, breathe in and agree to touch or feel it. Breathing out, offer space and care to whatever's there. If there's blocking to touching it, emphasize the in-breath and stay embodied.
I was compelled to perform. When I say perform, I was compelled to go out and do my engagements and not let people down and support them and love them. In a way, by being out in public, they supported me although they weren't aware of just how much healing they were giving me. It carried me through.
The Analytical Engine has no pretensions whatever to originate anything. It can do whatever we know how to order it to perform.
I was at this casino minding my own business, and this guy came up to me and said, 'You're gonna have to move, you're blocking a fire exit.' As though if there was a fire, I wasn't gonna run. If you're flammible and have legs, you are never blocking a fire exit.
Watching routes and studying routes, you can learn stuff that way or you can learn blocking schemes on blitzes. You never know what you can learn just sitting back from behind and watching.
I don't cover my scenes. We approach it visually. Sometimes we go out of our way to do awkward blocking so that we can tell whatever the emotional heartbeat is of that scene in the most interesting way possible.
I kind of like to think I can do everything decently well. It's just putting me in position to be a playmaker, blocking, special teams, no matter what it may be. Whenever I go out there, I'm going to do my best.
The Analytical Engine has no pretensions whatever to originate anything. It can do whatever we know how to order it to perform... But it is likely to exert an indirect and reciprocal influence on science itself.
When it's time to play, I'm going to come play. I'm going to play the right way. I'm going to try to help my team in all directions, blocking and catching. If I don't have the ball in my hand, I'm going to protect, block down the field. I'm going to do whatever it takes to win.
Rehearsing is more about blocking in the case of movies, I think, and blocking, of course, is very important to the beauty of a scene.
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