Quotes About Learning

I'm feeling better every race; it's just about staying in it and continuing to push to learn, and I don't doubt it will come.

Staying curious keeps me inspired.

I was an introvert really. I spent a lot of time in the crib reading books. Staying out of trouble.

With Shakespeare, because you invest so much time in working on material, it always sort of stays with you to some degree.

Hits and flops will come and go. But what stays with you is the experience you had while shooting a film. I am happy learning something new each time.

We know you have good runs and bad runs. The big thing you learn in the Premiership is you have to take it on the chin. You have learn how to lose without getting too down and too despondent. You have to box that up, put it to one side and make sure everyone who counts stays positive.

Every character gives you something or the other, and you can't calculate it unless you are living the character. You learn something about the character that stays with you.

My education as a filmmaker has been entirely practical. I started working professionally in the film business in 1970, and I've been at it steadily since, and I pay a lot of attention.

I don't read for amusement, I read for enlightenment. I do a lot of reviewing, so I have a steady assignment of reading. I'm also a judge for the Anisfield-Wolf Book Awards, which gives awards to literature and nonfiction.

Eight years of steady acting training nonstop... three years in the profession. And I'm still in the apprentice mode and I'm still watching everybody and learning.

I looked at Randy White... I looked at Klecko. I looked at Gino Marchetti. I looked at a lot of players. Bob Lilly. There are players I looked at over the years when I was a young player and tried to steal a little bit from their game and fit it into my game. And Joe Klecko was someone I thought was a bear to deal with.

Somebody told me long ago that in acting, it's okay to steal, just steal from the best.

All writers steal. You might as well steal from the best.

There's so many great coming-of-age movies to steal from, and I feel like I just tried to steal from them all equally.

I used to steal from the library, which is a crime and it's bad, but I just couldn't get enough books, and I also didn't like to give them back once I'd read them. I just read everything.

I talk to a lot of European coaches. I got friends over there that I steal stuff from, talk to, maybe have them look at what we're doing and say, 'Hey, what would you do differently?'

I've always done that since I was in second grade watching the varsity quarterback at my father's high school - trying to steal reps as much as I can.

I really learned how to steal bases from my coaches my freshman year at NC State.

Stealing bases was put to me almost as a prerequisite for staying in the game. They didn't give me a handbook on how to do it; they said do it. Under those conditions you go out and develop your own handbook.

Although there's no one I really pattern my game after, I am a firm believer in stealing stuff from other people.

Sally Field taught me to do needlepoint on 'Steel Magnolias,' and a standby painter on 'Pelican Brief' taught me to knit. I'm pretty good at it now!

Before, it was just about making the films - and now it's releasing them. Which is a steep learning curve.

I had a pretty steep learning curve in film - as I'm still learning.

When Ron Howard does 'Rush,' he has to learn and steep himself in F1 culture and European racing culture, and that's part of the fun of the gig. You learn to learn. Your real skill as a director is being a learner and an observer. You're constantly learning another thing in context.