A Quote by Shinsuke Nakamura

Antonio Inoki majored in strong style. He showed real emotion with real technique in the ring. Hard shots that look like hard shots. But the important steps is the real technique from the real martial arts. It means detail is important.
Strong style is a philosophy for Japanese wrestling fans that was created by New Japan Pro Wrestling founder Antonio Inoki. He wanted you to show every motion and show real technique in the ring. It's important to use real techniques from real life and real martial arts. The detail is important.
The dozens of people working on this at Digital Domain, they knew that you couldn't get away with almost photo real, because we had real real in the room. You have real real in the cut every four or five shots, so you have this constant yardstick built into the footage by virtue of there being no real robot there. So it became the standard of photo reality that the VFX team had to match.
The top fighters spar hard. They're really sparring for two reasons: One is to improve their technique, but the other, which is just as important, is to build endurance, toughness, and courage. They want to practice as realistically as possible so that when they go into a real fight, the transition isn't as jarring.
The most important club in the world is Tottenham. And it is the best club in the world. I need to feel like this, and that emotion is real because I cannot be fake. It's too difficult to create the trust if you don't really believe, and it's not real, that emotion.
You see me. What you see is what you get. You get real martial arts, you get real fighting, you get a real warrior mentality. Some people aren't mature enough to handle it.
The tools are real. The viewer is real, you, the artist, is real and a part of everything you paint. You connect yourself to the viewer by sharing something that is inside of you that connects with something inside of him. All you have as your guide is that you know what moves you. All you have to do it with is a brush, some chemical and canvas, and technique.
I make up stories that take place in real space with real people. If I could convert this into a technique for experimental novels, I might really be onto something.
There is this idea in comedy that you don't want to look like you care about your appearance because that takes away from what's real, what's important. And the real stuff is what's funny.
Be real, because a mask only fools people on the outside. Pretending to be someone you're not takes a toll on the real you, and the real you is more important than anyone else.
My musical style has changed dramatically from my first album until now. That's the real developmental shift. But my clothing has pretty much stayed the same. The important thing is to be real.
I believed in making it look real. I was probably hard to work with because I wanted it to make real, and I knew how to wrestle.
People want to see real skill level, real Jiu Jitsu, real boxing, put together and mixed up. They want to see mixed martial arts. They don't want to see five minutes of holding. I think there should be points deducted when you do that.
I like to write about real people, real crimes. But what has increasingly come to interest me, and also appear to me as a challenge, is the idea of doing strange things with what is real. Take what is real and make it more or less real.
You put on a face for the public. The face isn't false; it's just another side of you. If it were false, you couldn't last. People want something real and natural, and if they catch you acting, you're dead. It has to look real. In order to look real, it has to be real, and I've always thought of the characters I've played as real people.
With WesTrac, you have real people doing real jobs with real problems and real opportunities, and you touch the metal, and it's like being grounded.
My life is good because I am not passive about it. I invest in what is real. Like real people, to do real things, for the real me.
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