Adolfo Cambiaso Quotes

Most of the time I'm really not aware of what I am doing. I'm just so locked into the moment.

A lot of times, my best games are when I'm not even thinking.

When I'm in my groove there is no thinking. Everything just happens.

When I write an email where I outlined a whole scene, it just came out of my unconscious, it comes from a deeper place. The same thing happens when the actors go, take after take, and just get lost in it. When you're in a house, you don't think about being in the house; you're just there.

Nothing I do is thought out or planned or premeditated. It's just that I'm breathing and living! You just have to breathe and live.

There is a part of your brain that has to stop when you're acting. You have to be in the moment and dare to fly. Words can't be on your mind.

My whole process is based on meditation as well as listening really closely to what the director says and what the choreographer says. I try to stay in the immediate present reality with my partners on stage, give and take reality.

When you're out there thinking too much, that's when you can throw the ball away a lot of times. Just play. When I don't think, I have fun.

It sometimes happens that you come out of a scene, and you don't even know what happened. It's like you're in the zone.

As an athlete there are times in your career where, during a game, any decision you make seems to be the right one. The bowler bowls where you want, you don't have to think and you are so 'in the zone' that you are not aware of anything else around you.

When I'm out there, it's not even me who is doing the acting and the wrestling and the moving. It is something that I feel like I see channels more than anything else. So, for me, I tune into the right frequency. I get turned on and we're ready for take off.

In any sport, you're at your best when you're playing without thinking too much.

For me, the whole idea of performance is not being self-aware, and then sort of just experiencing.

When I'm playing well, I don't even take aim.

You do your best work when you're not conscious of yourself.

When we shift back to feeling the sensations in our body and connect to what's in front of us, the creative channel opens up.

I act with my gut instincts.

I kind of entered a flow state. I've been there before while climbing. You are not thinking ahead. You are just thinking about what is in front of you each second.

If I'm in the middle of a take and I start to think about what I'm doing, I just mess up and I have to stop and so I find that for me, you really need to trust your instinct.

When I play, I'm so in the moment that I can't really remember what happened afterwards. It's a rare experience for a thinking person like me.

When I'm onstage, I'm not thinking about ideas. I'm not in my head at all. It's a more physical experience.

When I model I pretty much go blank. You can't think too much or it doesn't work.

There were probably about five games in my career where everything was moving in slow motion and you could be out there all day, totally in the zone, and you don't even know where you are on the field, everything is just totally blocked out.

When you've done the technical part, you're then into the joy, the zen, into being. Technology no longer exists for you. You're then into the mystery of the thing you're doing.

Once I'm on set, the only thing I'm really interested in is being in the room. Being present. And trusting that what I've done is sufficient, and I'm also trusting that I've also left room for magic.