Changing Pace Quotes

Obviously, after 'The Matrix,' it was a case of, 'OK, I did that. What's next?' I mean, it's always like that, but more so this time. How do I change it up? How do I keep it interesting for myself?

I feel I'm discovering something new, a different rhythm, and I guess these rhythms have a lot to do with walking, too, but it's a longer trajectory now. I'm traveling greater distances with each sentence. But I don't write about walking that much anymore.

I don't just want to be someone who hits the ball 100 per cent every time. You can play with freedom and still mix up the pace, mix up the spins and everything like that. That's what I want to be doing, because you get into that very one-dimensional kind of tennis if you don't work on slicing and coming into the net.

The time has now come to slow down, to sip Rooibos tea with my beloved wife in the afternoons, to watch cricket, to travel to visit my children and grandchildren, rather than to conferences and conventions and university campuses.

I don't think I'll be doing daily videos forever.

Historically, we've had to think in increments of 30 or 60 minutes. And now we have to think in increments of six seconds to six hours and everything in between.

I never like to stick to one media; whether it's a TV series or feature film, I enjoy it and I like changing constantly.

Now, I don't make decisions as fast as I used to.

I really do love doing stand-up, and I don't see why it should affect the acting. And I just want more interesting jobs. I just want to keep doing stuff that's different, rather than saying, "Okay, I've become known for this, and I'll just do this from now on." If I feel like I've done this one thing, I never want to do it again. I want to do something totally different.

At a time when history made its way slowly, the few events were easily remembered and woven into a backdrop, known to everyone, before which private life unfolded the gripping show of its adventures. Nowadays, time moves forward at a rapid pace. Forgotten overnight, a historic event glistens the next day like the morning dew and thus is no longer the backdrop to a narrator's tale but rather an amazing adventure enacted against the background of the over-familiar banality of private life.

With improv or a full length play - you know how you go to a theater, and after 10 minutes you say, 'Oh, I don't like this thing,' but you don't want to get up and leave? At a sketch show, it's always something new every few minutes.

When he ran from a cop, his transitions from accelerating walk to easy jog trot to brisk canter to headlong gallop to flogged-piston sprint . . . were as distinct and as soberly in order as an automatic gearshift.

For Dylan, it seems, life is always the next gig. Changing pace and location are essential to his survival as an artist.