Quotes About Performance

Obviously, not playing a game before playoffs is something that happened, but especially going into the playoffs, you try to feel yourself out, where you're at, and then get right into game tempo and jump right in and play where you were before the injury.

I don't use a Beatmap; I don't use any click track. Any time I count off, it's just in my heart. Sometimes I'll go off the feel of a crowd, like if they way they're bouncing is a little quicker than the song, I might kick up the tempo a little bit. I see where the crowd is at. It's nothing drastic, but all the tempos are from my internal clock.

Hamp would ask me about tempos in the band: 'Jacquet,' he'd say, 'knock off that tempo.' A lot of jazz musicians didn't prefer to play for dancers, which was their loss, really. But good jazz has always had that dance feel.

Mentally, my key is just focusing on the little things I need to do in a race, whether that's tempo, turn entry, start speed, things like that. I'm not thinking about that much before or during a race. I just trust in my ability and all the hard work I put in and let the race come to me.

I feel like, anytime I'm onstage, I tend to feel very connected with people in the audience or with the sort of heartbeat or tempo of the audience.

People have to fear England and not want to play us. The only way of doing that is to play at a high tempo and win games.

I try to look for tempo in my run-up to make sure my knees are lifting up instead of going long. That brings an energy to my run-up, try and make myself feel as tall as I can.

I always love to do more. Whatever opportunity I get to make a play I'll make the most of my skills. To score touchdowns, to have energy, to light my team up, to get everyone riled up, to continue to go on the field and play at a high level. I just try to set the tempo, playing at a high level and everyone else can follow.

The console games, as they come out with this new generation, will have a temporary advantage in price performance, but there are still many things you can do on a PC, more conveniently than you can do on a console machine.

Actors who are lovers in real life are often incapable if playing the part of lovers to an audience. It is equally true that sympathy between actors who are not lovers may create a temporary emotion that is perfectly sincere.

judge people by what they do and not what they say they will do.

A pilot can be too cautious. He can be too methodical. He reads and memorizes the specifications, knows the boundaries of the performance envelope, and is careful never to nudge up against the performance limits. But Boyd did not believe the performance specs and had no fear of the aircraft.

It doesn't matter how big the body, it's what you do with it.

It's important not to indicate. People don't try to show their feelings, they try to hide them.

If you go in thinking you're going to win, you'll be disappointed if you lose. So just go in to the competition with the attitude that you're going to compete, which is all you can control anyway.

She sang along to Kenny Rogers

It's like kids playing house: 'You play the father, I'll play the mother.' You know, you dress up, you play, they pay, you go home. It's a game - acting's a game.

I always considered myself as a character actor. I always try to be versatile to show different sides of human experience.

It is good to tell people what we mean, but it is infinitely better to show them. People are looking for a demonstration, not an explanation.

collaborative teams think of common formative assessments as academic scrimmages or dress rehearsals.

It doesn't matter what you say you believe - it only matters what you do.

Do the job and do it well.

Holly was playing the concerned relative, the devoted sister, and if it was a ham performance Robin was experienced enough, now, to know that there were usually nuggets of truth to be sifted from even the most obvious dross.

When we hear a Mozart piano concerto today, we're most likely to hear the piano part played on a modern concert grand. In the hands of a professional pianist, such a piano can bury the strings and the winds and hold its own against the brass. But Mozart wasn't composing for a nine-foot-long, thousand-pound piano; he was composing for a five-and-a-half-foot-long, hundred-and-fifty-pound piano built from balsa wood and dental floss.