A Quote by Ron Atkinson

He dribbles a lot and the opposition don't like it - you can see it all over their faces — © Ron Atkinson
He dribbles a lot and the opposition don't like it - you can see it all over their faces
I see a lot of new faces. Especially on the old faces.
'Penthouse' didn't seem to concentrate as much on the girls' faces, and I really wanted to see the girls' faces. It seems like through the 1980's, they almost went out of their way to obscure the girls' faces.
Penthouse' didn't seem to concentrate as much on the girls' faces, and I really wanted to see the girls' faces. It seems like through the 1980's, they almost went out of their way to obscure the girls' faces.
The Opposition aren't really the Opposition. They're just called the Opposition. But in fact they are the Opposition in exile. The Civil Service are the Opposition in residence.
I like being able to see an innocence in people. I see a lot of beauty in youth. Young people are in progress. Their faces and bodies and minds are constantly changing. It's exciting to capture that on film.
Playing with Coutinho is easy. He's a very quick player who dribbles well. He knows how to play out wide, and my job is not just to go past and help him: it's also to give the greatest number of passes to him in space around the opposition right-back.
The argument culture urges us to approach the world-and the people in it-in an adversarial frame of mind. It rests on the assumption that opposition is the best way to get anything done: Conflict and opposition are as necessary as cooperation and agreement, but the scale is off balance, with conflict and opposition over-weighted.
I think, as you move to the upper ranks of science - ranks being positions of influence and access - you see fewer female faces. And I think the basic reason is the same reason that you don't see a lot of female faces in Congress or on the Supreme Court or on the directing board of Fortune 500 companies.
I just play to the people I can see. So it's almost like you are playing to the first few rows of the crowd. You can see the faces of the first hundred people, but then it becomes a blur as the crowds disappear over the hill.
You can actually make a lot of money and do a lot of good in the world. I don't see those things as being in opposition to one another. I never have.
I remember watching that show [Golden Girls] with my parents and not totally understanding it. Like, a lot of comedy flew over my head, a lot of the sexual stuff I didn't know. But because there was a laugh track, I'd laugh really hard, and I'm now remembering the look on my parents' faces - I had no idea why it was funny. I was sort of, like, laughing along.
If we are to love our neighbors, before doing anything else we must see our neighbors. With our imagination as well as our eyes, that is to say like artists, we must see not just their faces but the life behind and within their faces. Here it is love that is the frame we see them in.
An opposition is necessary and desirable for the healthy development of any country. You can scarcely find anyone in opposition, except for the communists, just like in Yeltsin's times. It is regrettable that there is still no constructive, clear and large-scale opposition in Russia. The growth and development of an opposition, as well as the maturing of other democratic institutions, will take more time and experience.
I do not like detached creation. Neither can I conceive of the mind as detached from itself. Each of my works, each diagram of myself, each glacial flowering of my inmost soul dribbles over me.
There is a lot of opposition. You will experience it. But the joys that come from the study, more than compensate for the opposition, in my opinion. It's a personal choice.
When I write, I speak with ghosts for years, and I see images that are a little bit out of focus. I see faces, but the faces change. At the moment that it's a real human being that's flesh and bone, it changes a character. It's much more precise and complex.
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