Eddie Guardado Quotes
I don't know what to tell you, man. That one pitch is costing me. ... It's hurting everybody here.
Quotes to Explore
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I love to pitch things that I believe in and products that I love to use.
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As the ball comes down the pitch at such pace, it is a challenge just to keep going. But I'm working on it.
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My thing is to be ready to pitch every five days and give my team a chance to win.
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The pitch count situatio-it doesn't matter if you throw 120 or 80, whatever. It's the quality of pitches that you throw.
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Your name or what you've done on the rugby pitch is not going to carry you through for the rest of your life. I realise I'm going to have to eventually do something else, and that does frighten me a little bit.
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I don't count my sit-ups. I only start counting when it starts hurting. That is when I start counting, because then it really counts. That's what makes you a champion.
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I don't count my situps. I only start counting once it starts hurting.
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Pitch-black winter nights live in my bones.
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The screwball's an unnatural pitch. Nature never intended a man to turn his hand like that throwing rocks at a bear.
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I've been able to do a lot of things in the movies. I've been able to run with the buffalo, you know. I've been able to pitch a perfect game in Yankee Stadium. I've been in the bathtub with Susan Sarandon. I've had a lot of chances to do a lot of things. I enjoy sports, but I enjoy sports so much to the point that I wouldn't do the movie unless I thought it had a chance to be good.
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I'm always afraid, because I do most of my stuff at home, where nobody bothers me, and I don't have to stroke somebody's ego or be careful about hurting someone's feelings. But I also want to know that I can still go into the world and be with other people and make music.
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Haven't shed a single tear, but I'm hurtin' down inside.
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It is possible to achieve mastery of a problem or a skill without hurting another person or even without attempting to conquer.
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I'm a bit of a wandering gypsy on the pitch.
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I'm not really someone who looks forward to the gym. But I realise it's something that I have to do to perform well on the pitch.
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Her questions about whether Palmer would have raped her if she hadn’t been taking a forbidden bath on the job, if she’d remembered to lock the bathroom door, if she had tried to fight despite his knife—all her secret worry that it was these mistakes, her mistakes, that had caused her rape—were revealed to her as utter and total bullshit. If she’d been strutting down the street buck-naked, he didn’t have a right to touch her. No. If that woman across the street told her husband he was the worst fuck in history and gave him dog food for dinner, he didn’t have a right to hit her. No. Just because women were blamed for everything but good luck didn’t give nobody a right to do them wrong. And it didn’t mean they were supposed to take it when they were done wrong. All this woman-hurting shit had to stop. “Stop!”
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I know I have to calm down a little bit, but everybody has a different way to pitch, and that’s my way.
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If I hurt somebody's feelings, I go right to them and talk to them and explain what happens. Sometimes I'm mad at myself because I left a pitch in the middle. It's big when you leave a pitch in the middle. When I make that mistake, it's frustrating for me. I have to think about what I did wrong and go to the next step.
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I'm very interested in the distance and the space between those two poles: very concrete, song-based stuff on the one hand and very improvisational, abstract stuff on the other. I don't see any reason music should exclude one or the other, and I think the pairing of them together makes for very interesting music in a lot of ways.
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I don't know what to tell you, man. That one pitch is costing me. ... It's hurting everybody here.
