Quotes About Adaptability

I want to stay open. I don't want to shut down the possibility of new ideas, new ways of seeing the world.

I'm very private in person. I'm very sensitive and shy with men individually. But when I'm talking, maybe there's this other channel or this other side and other way of working in my mind, and I convert and become carefree.

I think - I think I've always been kind of - I used to think of myself as a piece of rubber when I was a kid because I was kind of very shy and very - very emotional about things, but I kind of would bounce back.

I have sat in with the Burbank Philharmonic and the Topanga Orchestra when they need someone if someone gets sick or something.

The common agenda both sides seem to share is: Whatever works.

If you're dominant on one side of the ball, you set yourself up for getting beat if you're not on both sides of the ball.

I've always said I prefer playing on the right. But I can play at a top level on both sides so I'm happy to play wherever the manager thinks it will bringing the team success.

I've never had much and I've never needed much. If I had only two bucks in my pocket, I knew I could spend it because I could always do another show of some kind, even on a sidewalk.

This business is fickle. You have very good patches and less good patches, but you learn to ride them out. As long as you don't take yourself too seriously, you'll be fine. When you lose sight of that, you're in trouble.

Failure has never been a signal for me to quit; it's always been a sign for me to go down another path.

We'll have all sorts of crazy signals. And you'd be a damned fool if you didn't look for things you weren't expecting, because that's probably what you're going to see first.

I'm against a signature look, as that can be very outdating. But having said that, I also know my best qualities, so I'm not going to foolhardily give away my power.

In the beginning, I got different kind of roles, and then I realised it's great to be that way. And that thought is always there before signing a film.

The course is going to make you look silly sometimes. You have to be able to accept that and move on.

With 'Silver Linings,' I didn't feel - I was thinking of certain things, but I just said, 'Let me go with it.' You have to know what you're doing, where you're going with the scenes, and I put a lot of work into that. But when you're out there, at the same time you gotta be ready for anything.

I'm a great believer that actors are very similar to session musicians. You wouldn't ask a session musician, 'How do you play jazz,' and then, 'How do you play classical?' They just do it, because if they don't do it, they don't eat.

I don't want to put myself in any kind of a box as far as my sound goes, because being an artist is fluid. If you look at a painter's work, a lot of times, it's similar in style, but other times - over even a year's period - it can change so much. I'm just going with the flow.

In television, you make an hour-long episode every seven days; we used to make 'Party Down' in four days per episode. It's quick and with independent movies is the same: you gotta keep moving. It's very similar.

I've followed Brenda Bowen as she's moved from Henry Holt to Scholastic to Simon and Schuster to Hyperion and to HarperCollins. I have complete confidence that Brenda always knows the right questions to ask. I'm not sure another editor would be able to do that.

I'm the opposite of a gearhead. I like simplicity. I use what works, and the only time I change it is when I have to.

The tenets of Jeet Kune Do are simplicity, directness, and freedom, and it's meant to be a style that is efficient and non-telegraphic; you can't see it coming.

Human adaptability simply doesn't get accurately captured in econometric models.

The willingness to change one's mind in the light of new evidence is a sign of rationality not weakness.

As long as you have sufficient toilet paper, how far wrong can life go?