Quotes About Technique

I've done figure drawing classes or whatever.

But I think sometimes, coaching less is better. That's the art of coaching, figuring out with each kid what is the right way to approach it?

Part of being a filmmaker is also being a craftsman.

Filmmaking is a real craft.

When I played the game, you played with your feet. And the game was about finesse. Movement.

I want to work on finishing at the basket more as far as more floaters, being more consistent.

With my bowling, I didn't know how I was doing it, so when it went wrong I didn't know how to fix it.

The first thing I do is take Polaroids of the sitter - 10 or 12 color Polaroids and eight or 10 black-and whites.

Pure mathematics is on the whole distinctly more useful than applied. For what is useful above all is technique, and mathematical technique is taught mainly through pure mathematics.

You have to know how to use the accident, how to recognise it, how to control it, and ways to eliminate it so that the whole surface looks felt and born all at once.

The actor depends wholly on himself. He gives his performance in what, to him, seems the most effective manner.

It was Noel Coward whose technique I envied and tried to emulate. I collected all his records and writing.

Of course, there will always be those who look only at technique, who ask 'how', while others of a more curious nature will ask 'why'. Personally, I have always preferred inspiration to information.

I think the rest of the world has a very wide, very slow kick. It's very simple, breaststroke. People think it's highly technical. But the more narrow, more effective and quicker you can execute it, the faster you are going to go. There's less drag, basically.

In South Africa, you can get away sometimes because of the bounce. You may get away with full wide balls. In India, it does not bounce and finds the middle of the bat and goes flying to point or extra cover for four.

I studied technique for ten years, from age 7 to 17. I guess you could say I went more on the Stanislavski side than the Meisner side - there's always that wide divide among actors when it comes to technique.

A violin neck is much smaller than the guitar's, so it's much easier to play wide intervals on one violin string. On the guitar, you really have to stretch to play them.

At the time when I was conducting my research there was no known method for taking the guinea pig's temperature. I demonstrated a technique which is now widely used.

It is a widely accepted notion among painters that it does not matter what one paints as long as it is well painted. This is the essence of academicism.

My vibrato was my weakness. With romantic pieces, I could be a lot more schmaltzy. My wider vibrato fit that.

I'm not wild about hand-held shots.

I've learned more about directing from five years of television than I could have in ten years of film.

A lot of young drummers have a tendency to really overplay. Sometimes simple is better, and the notes that aren't played between the spaces are bigger than the notes that are.

One of my tendencies is to let the ball drift too far forward in my stance, and it's something I've been working on with David Leadbetter.