Quotes About Adaptation

The simple rule I will follow to sustain in the industry would be to adapt to these ongoing changes and be a versatile artiste.

I feel that the BBC World Service is not as versatile as it used to be - or perhaps I'm not listening at the right times.

An actor tries to be versatile, to immerse himself in a different culture.

The more versatile you can be, the longer you'll be in the NFL.

People always say you have to grow into your body, but for me, it wasn't even growing into my body - the more weight came, it didn't faze me. It made me faster, stronger. It helped me become a more versatile player.

The challenge is when you're offered similar roles, and you have to play them differently. I don't want people to say, 'She performs similarly in every film. There is no versatility.'

My personal style definitely developed over time. I thought I used to look good in a T-shirt and jeans and a decent pair of shoes. Now versatility is key for me.

When I wrote 'Mushaboom', I was living in the second verse, but I suddenly found myself in the first.

Even writing verses from my first album, there were songs that I didn't use because I just felt that they weren't really for me. But I think that happens naturally when you write songs. You're in a different mood in every session. There's so many songs out there that could potentially be used by other artists.

The thing is, the way we write is all jams and bits and pieces that get pieced together and sometimes things are written with intentions of being a song, and then all of a sudden the main riff of this song, six months later turns into a verse or a chorus of another song.

Sometimes I'll have sections that I'm not quite sure how they fit in the puzzle of a tune, they'll get moved around; what I think was originally a verse ends up becoming the chorus, or what's an intro gets dropped as a hook, things get shifted around a lot.

My verses stand gawping a bit. I never get used to this. They've lived here long enough.

But I do not want to use Hungarian verses for British people.

My idea is to play with the people who you know want to get it right. Then it's fun and easy to record, and you can get down to details, like taking out cymbals so the verse doesn't dwarf the chorus, something like that.

Tra-la-las and doo-be-do's became a Neil Sedaka trademark. I was the king of the tra-la-las and doo-be-do's in the '50s and '60s. But then when I re-recorded 'Breaking Up,' I started with a verse instead of the doo-be-do's!

Democracy is not always chapter and verse, written out in advance.

I've always been a big fan of taking old songs and completely turning them on their head. Having no adherence to the fine tradition of the original version. Rearranging them and taking a different approach to them.

The original version of 'Nuthin' but a 'G' Thang' was made to a Boz Scaggs song; I can't remember the name of the song.

Films for TV have to be much closer to the book, mainly because the objective with a TV movie that translates literature is to get the audience, after seeing this version, to pick up the book and read it themselves. My attitude is that TV can never really be any form of art, because it serves audience expectations.

If I can get a sanitized version of reality, I'll take it.

When I lived in Greece and off the coast of Italy, I enjoyed a branzino dish so much that I created my own version.

Remember the diner in 'Happy Days?' I do want to do a show like that. But an updated version.

I think the most productive thing to do during times of change is to be your best self, not the best version of someone else.

'I Want To Hold Your Hand' is a great classic by Paul McCartney and John Lennon, I sure love that song. I did like the classic version, a rock-oriented song, then someone heard me do it with the Grant Green approach - Grant Green and Larry Young did it, with a bossa nova beat on the funky side.