A Quote by Satoru Iwata

We are trying to capture the widest possible audience all around the world. In other words, we are trying to capture the people who are even beyond the gaming population.
I was trying to capture this man's [Idi Amin] energy, and I did a lot of research in studying him. I tried to capture his 'Warrior King' energy inside of me as much as possible.
I would say, when you're playing video games that involve competition against somebody else, you have to be able to understand what's going on and react in the fastest time possible to either - if it's a capture the flag game, capture the flag, if you're trying to take out the other team, take them out. Same thing in basketball.
[Making movies] you're not trying to capture reality, you're trying to capture a photograph of reality.
Trying to capture the physicists' precise mathematical description of the quantum world with our crude words and mental images is like playing Chopin with a boxing glove on one hand and a catcher's mitt on the other.
You know what the reward is to capture Saddam. You don't even need to capture Saddam, just say where he is. It's $25 million. This is what I love about our priorities. We spend $25 million trying to get rid of Saddam Hussein. The Republicans spend $50 million trying to get rid of Gray Davis. It doesn't seem quite right.
People have to follow their own strangeness. The minute they start making their own vision of the world flattened out so everyone can read it, they lose. I encourage people to be as awkward and odd on the page to capture their own way of seeing the world and not trying to see the world for other people.
When you are engaged in both trying to kill and capture the enemy and get support from the local population, you have to be always asking yourself, "Is what I'm doing keeping that balance?"
When I sit down to write a song, there is no filter. I'm not trying to write for anyone or anything specifically. It's just trying to capture a little piece of your soul - even if it's a really ugly part.
We build camera rigs tailored specifically to the story we're trying to tell or the shot we're trying to capture.
I honestly think the impulse is to grab something and capture it, and not capture a moment that you want to remember, but just capture an image that you want other people to see right away. It's about how someone is going to "like" this and it's no longer an experience. It's just this constant sharing of images. I personally don't like that very much.
Even the mistakes and the pain that you've caused and enacted upon you. That is definitely what I'm trying to capture
Trying to capture the essence of India is almost like trying to bottle magic, which is hard to do because India is so broad and diverse - it's controlled chaos. But there's spirituality and wholeness to the people.
You've got to capture an audience. You don't go out there and just sing, or just play. If you can't capture an audience, you might as well not be out there.
Trying to understand, inside, what it is to be Ugandan was crucial to the character, because there are Ugandan ways of doing things that I was trying to capture. Even if I had made this movie in South Africa, it would not have been the same, because it is so specific to Uganda.
People are always trying to draw simplistic dialectics that can capture things.
Once you start [filming] you have researchers who are constantly giving you information. Ultimately it isn't about impersonating or trying to be an image of somebody and more trying to capture the spirit and the soul of the person somehow.
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