Quotes About Performance

I was stronger than Robinson Cano is, but he consistently strikes the baseball with substantially more force than I did.

I can do back fists, spinning kicks. I have more options, and I can show the better striking.

My job isn't to strike guys out; it's to get them out - sometimes by striking them out.

It's rare that you sit down for an episode of 'Psych' and think, 'Oh, that was just okay.' For the most part, we're either really knocking the ball around, or we're striking out and failing miserably, but you don't ever want to be anywhere in between.

By nature of the job, most actors are striking, remarkable, and alpha.

There's more to pitching than just striking guys out, but also it is a big reason why you can have success.

My striking is on a different level.

Cinematically speaking, there's more of a striking appeal to karate. It's kicking and punching action. Jiu-jitsu is dudes rolling around and wrestling.

Volkanovski is good at things, but he is not great at anything. He doesn't have good footwork or striking, he doesn't finish anyone, and he stalls a lot.

I rely on my ball striking more than anything.

No, but a cello is the perfect string bass for an accordion. Works with it beautifully.

Occasionally, when I run into a great bass backstage at a festival I'll play a few notes on the low E string, just to feel the instrument vibrate against my belly.

It's the director's job to piece together my performance, his interpretation of my takes, each take, and string them together and make a statement. I'm red paint on a canvas for a painter.

That's the only way to do it. Just like an actor. You can get a great performance if you do a bunch of takes and edit it. You find the moments and string them together.

Whether it's string writing or whatever, I try to write for what each instrumentalist can do best.

I play a couple basic folks songs and break them down. I did that on a six string. I can't recall all the songs on it. There's some finger picking on it.

Pianists don't argue too much generally because we have such a hard time just getting things right; arguing is for string players.

With the a cappella groups, every voice is like one string on a guitar, one note on the piano, or one cymbal, and you don't have the luxury of falling back on anything.

It's great if you can afford to carry a string section on the road with you, but most people are used to the idea of just a keyboard player creating those string sounds.

For me personally, I think too much emphasis is put on, 'Okay, how cool are my moves?' and, 'How do I string them together?' 'How do I get this move in the match within this time limit?' and that's it.

I never use pull-offs because I don't like the sort of 'meow' sound they make with the string being deflected sideways.

I love the string band. I love the sound of it, the possibilities of it, I love the physical sensation of creating and performing in it. It's my voice.

The Detroit String Quartet played Brahms last night. Brahms lost.

The lute I use has 10 courses and 19 strings, which is quite a lot of strings and a quite different fingerboard width from a classical guitar. I use a combination of flesh and nail when plucking the strings.