Quotes About Adaptation

I think what the story of Yes has been is we've wandered in and out of different styles over the years.

I really wanted the first record to be different from what I'd done with Genesis, so we were trying to do things in different styles.

Television is obviously changing; the way we consume media is changing, so I think it's natural that we are going to try different styles.

I'm not an early adopter. I'll only start wearing new styles of clothing once they're practically out of date, and I won't move into a neighborhood until it's fully saturated with upscale coffee shops.

I have to be smarter than my opponents. I have to figure out their styles in the ring. I have to be three or four steps ahead of them. So my mind has to be sharp.

If there's only one genre that it's possible to listen to or possible to see live, then how can you explore different styles? How can you evolve, musically?

I understand now the different games and the different approaches that you need to take at different times, with different styles of play.

I have definitely learned a lot from playing in different countries and in different styles of football, and I feel very happy now with Al Ain.

It's great to see Latino music coming to the mainstream, but at the same time, there are also a lot more styles to explore: African music, Indian music, Chinese music.

The way you adapt and play against different teams and different styles is going to be important.

You come away better at playing against different players and styles.

Every coach is different, every coach has different playing styles, but no coach made me have a negative experience playing.

We can never achieve perfect football at Bayern because the game is always changing. There are always new influences and different styles.

You see, in chess we have styles - like in any other field. There are also fashions in the kinds of systems that people play. So I'm trying to know my opponent as much as possible.

Certain styles of play take a bit longer.

I wanted to try new things, I had ideas for things that I had done in the past and I watched people, I saw their styles, new things came to me and I've integrated that into my matches.

Sometimes, we have to turn our camera to a mirror to shoot something, and people think, 'Oh, that's very stylish.' Yes it is, but at the same time, we did it because we are shooting in a very small space, and that was our only option.

As the stylist, sometimes you see things that you love that don't work, and that's OK. That's why we have fittings!

Did you notice what happened when digital photography arrived? Suddenly there were four times as many people on set for a shoot! It used to be a photographer, a couple of photo assistants, stylist and a fashion assistant, hair and make-up and that was about it.

I never expected to be a model. I never expected to be a stylist. Or a designer.

The more the schemata are differentiated, the smaller the gap between the new and the familiar becomes, so that novelty, instead of constituting an annoyance avoided by the subject, becomes a problem and invites searching.

If somebody had started on a remake of French Kiss before I announced my own film, I would have dropped my subject. If someone else starts after me, what am I to do?

Evolution is one of the two or three most primally fascinating subjects in all the sciences.

My first three novels were all the subjects of intensely exciting flurries of calls from producers and even stars' production companies, and once someone actually hired a screenwriter to adapt one of my books - but it all came to nothing, so I tried not to get too excited when a Hollywood suitor came calling for 'Admission,' my fourth novel.