Quotes About Technique

I want to make my fastball better. How do I high-grade my fastball to make it the best fastball in the league? I can only throw so hard. I'm close to my genetic ceiling on my velocity.

I just think that's the key to all of the quarterbacks throughout the league. You want to have a consistent drop, a consistent balance in the pocket so that you can really get everything into the throw, so that you are throwing with good velocity.

I'm a white middle-class public schoolboy so I'm not particularly tough. But it turns out I don't mind going in the cage. I can dig in. And it's interesting watching people spar and train. There's no anger. It's all technique and delivered with venom.

The only way a ventriloquist speaks differently is that he forgoes using his or her lips, and learns to reproduce sounds using the tongue, upper palate, and teeth only. Those 'difficult' letters are B, F, M, P, V, W, and Y.

I think I tended toward the Russian training because my first teacher taught a version of Vaganova, and it was drilled into me that that was the best system, and also at the time there were a lot of great Russian stars.

Of course I had. That's how I do it.

Said Pinocchio's lover, midst sighs, My puppet's technique takes the prize. He gives me full measure Through dishonest pleasure: I sit on his face and he lies.

The main point then is that an actor should not try to acquire any kind of recipe or build up a box of tricks. This is no place for collecting all sorts of means of expression.

I didn't want it to have any technical virtuosity; I wanted it to just be really clear how it was made. For my work in general, it's always really clear how it is made.

Writers learn their craft, above all, from the work of other writers. From reading.

In my early work I didn't use much colour. I had no confidence about how I could do this.

I had gone to school to work on technique and found it wasn't something that was really worthwhile to me, although it probably was.

I used to hate working out - until I learned how to do it properly.

So much can be learned by any filmmaker by studying his work, in terms of blocking, staging, editing and sound.

There's the acting side of it so you work with a coach. Dissect a script. If it's a character, then obviously a character study. Just depends on if there is training needed.

And as far as I know about Alix's [MacKenzie] work, I don't believe she ever did any sculptural work at all. It was always pottery.

Every actor has their own method, so I'm not suggesting what works for me will work for everybody else.

In writing, there is art. And in art there is craft ...

As a filmmaker and film student, I think it's really interesting to hear what a director did and how they figured out how to do things.

I wouldn't call myself a method actor, but I have my own method. I do my own research. I come up with a background for the character. I'm not a club man. I don't like isms. I've never really studied Stanislavski.

I studied realism when I was in art school.

You see, I've never really studied acting.

I just play intuitively and work the same way in the studio. I don't have any magical effects or anything that helps me to get my particular sound.

The best way to study is to go to the Cecchetti method for about a year and draw onto all the highest points and then put that into the general method.