Quotes About Adaptability

I think when you're doing a musical, you have to be attuned to the director's vision. You're working with a variety of people, singers and dancers, so you have to create movement and dance that is for all abilities. You have to further the story through the dance.

In the future, instead of striving to be right at a high cost, it will be more appropriate to be flexible and plural at a lower cost. If you cannot accurately predict the future then you must flexibly be prepared to deal with various possible futures.

I'm not playing a fixed character on 'Comedy Nights Live;' in fact I would be seen portraying various characters.

When the boss chooses the system, we must play as well as possible and give everything. It is good to be able to use various systems so that you can change in difficult moments.

Every acting gig isn't the same, every writing job isn't the same, every live performance isn't the same - the challenge is the level of difficulty or ease, and that may vary.

Shellac was asked to do a recreation of our first album, but we've always been a band that improvised our sets. That's critical to the way that we function on stage. Whatever the mood takes us on stage can vary from night to night with what you feel like playing.

Edgbaston is a ground where you have to think on your feet because it can vary so much from season to season or session to session.

When it comes to the application to life of existing laws and morals, woman, because of her willing receptiveness, her elasticity and adaptability combined with her power of tenacious retention, has exerted an influence, the value of which is too vast to be measured.

I think having a great idea is vastly overrated. I know it sounds kind of crazy and counterintuitive. I don't think it matters what the idea is, almost. You need great execution.

I'm part-time vegan. I try to be vegan when I can. But I dip and dive in everywhere.

I don't really seek out vegetarian spots... but mainly, I know how to work a menu no matter where I am.

We seem to want one vehicle to carry people and soccer balls and hay bales.

Everything I do in business moves toward eliminating brick and mortar. Call us up and anywhere in the contiguous United States, we'll get your vehicle and take care of it.

For 'Death Car' I had three vehicles for the leading lady, because you never know when something is going to go wrong. You can blow a tire or start spinning around and hit a lamppost.

We may play in a contemporary rock vein, use standard bebop themes, and many other things besides.

There are a lot of writers who find a groove and spend a career mining that vein. I seem to be exactly the opposite.

If you asked me to sing a modern song, I wouldn't be able to - I can't easily slip into that groove. But if it were a song by Nico or The Velvet Underground, fine.

No matter where I go, I never write the setlist until I'm at the venue.

I'm not the kind of person that can do the same thing over and over and over, so that's why touring, playing in a different venue every night, in front of a different audience, is so rewarding, you know, because it always feels fresh.

It's like freedom of speech - they can't tell you not to do it. When no one will put you on at a club or venue, you can go to the street, just start singing, and get a lot of good feedback from people as they walk by. I got really good at lip reading and seeing if a song is working. It was a good way to start.

I headline concert halls for 20,000 people, but I still play smaller venues.

I think, in a lot of ways, it's easier to play a smaller room. You can exploit the quieter dynamics you would shy away from in larger venues.

Almost any word can be drafted to serve as a verb, even words we think of as eternal and unchanging, stuck in their more traditional roles.

You gotta be versatile, man.