Quotes About Adaptability

Because of my wrestling background, nothing a director can throw at me on a set can faze me.

If I want to be called 'The Rock,' I'll be called 'The Rock.' If I want to go back to wrestling, I'll go back to wrestling.

Obviously, my wrestling boots end up going with me everywhere, because you just never know.

Amateur wrestling, you can go by instinct. Pro wrestling, you have to memorize, and you have to go by what moves you said you were going to do. Sometimes you have to feel the crowd and do the moves at the right time and know the timing and tell a good story.

Alan Shearer, Ian Wright, unbelievable centre-forwards - but you could not say to them: 'For the next three weeks I want you to play No 10 and thread the ball through the eye of a needle.'

A good wrist spinner is a good wrist spinner against any opposition.

I was born left-handed, but I was made to use my other hand. When I was writing 'Famished Road,' which was very long, I got repetitive stress syndrome. My right wrist collapsed, so I started using my left hand. The prose I wrote with my left hand came out denser, so later on I had to change it.

I can bend my wrist down to my forearm. I can wrench my fingers backward until they rest on my hand. A hitchhiker's thumb might arc into a 90-degree angle; mine will go to 135.

I was playing legit snare with a traditional grip, not a matched grip. After I broke my left wrist, I couldn't hit a snare drum anymore. From the age of 13 to 17, I couldn't really get a pop on the snare drum. I would hit it, and my wrist would almost shatter.

I think I've got my business notions and my sense for that sort of thing from my dad. My dad never had a chance to go to school. He couldn't read and write. But he was so smart. He was just one of those people that could just make the most of anything and everything that he had to work with.

Write out the story - rapidly, fluently, and not too critically - following the second or narrative-order synopsis. Change incidents and plot whenever the developing process seems to suggest such change, never being bound by any previous design.

I push myself in a lot of aspects when I write a song. I write a piece and where most people would stop and say, 'Oh, that's the hook right there,' I'll move that to the first four bars of the verse and do a new hook.

I'm my own boss, my own editor, my own shooter, my own writer, everything. This is all stuff I learned through trial and error... failing at a lot of things has taught me how to succeed at them eventually... you roll with the punches.

I wear a lot of different hats - from writer to producer and artist. We all do 5 or 6 jobs, everything from creating our own graphic design to actually recording and the whole bit.

I love improvisation. You can't blame it on the writers. You can't blame it on direction. You can't blame it on the camera guy... It's you. You're on. You've got to do it, and you either sink or swim with what you've got.

It has been generally the custom of writers on natural history to take the habits and instincts of animals as the fixed point, and to consider their structure and organization as specially adapted to be in accordance with them.

When you're tied to one show, you are very much at the mercy of the writers, so you can suddenly get a script where you have a heart attack and die.

If I have a better idea, I say, 'Can we try one like this?' I try not to step on writers' toes, but ninety-nine percent of the time, it ends up in the movie, and sometimes it's the line that everyone remembers and quotes from the movie.

I got dumped off 'The Iron Lady' a month before they started shooting, and then they brought two new writers on. Then I was brought back on again. I'm just a bit of a rubber ball. I just bounce back.

Depending on what happens with my directing career, I don't think I'll stop writing, even if I crash and burn in movies and TV. I'll go back to plays. Even if I crash and burn there, I'll write a novel. That's the great thing about writing is that you don't have to wait for people to give you permission to do it.

The story is told in so many ways, depending on who is doing the telling, and what needs to be heard at the time.

Growth and change were viewed as reactions to conditions met

How about this," I suggested. "Instead of feeling that you've blown the day and thinking, 'I'll get back on track tomorrow,' try thinking of each day as a set of four quarters: morning, midday, afternoon, evening. If you blow one quarter, you get back on track for the next quarter. Fail small, not big.

sometimes, when people are willing to go with the flow on a collaborative team project, they view my need to ask questions as not showing team spirit