Quotes About Technique

Obviously, you look at footwork and things of that nature, but that's not just at my position. That's from everyone.

The things I've worked on in the offseason have mostly been on my footwork and pick-and-roll - using my size and not just always trying to face up and go by a guy.

Defending is an art, everybody has forgotten it.

Working my way through different formats has not changed my batting approach much.

There is no specific formula that you need to follow to do well on certain wickets.

I've never really been somebody who likes to hit it straight. That's just never been my forte, I guess.

The foundation for film acting is stage acting.

I love batting at four.

I've learnt the best way to put on the fragrance is by spraying it and walking into it so it's all over you.

I use a retouching varnish which is made in France, Libert, and that's all the varnish I use.

Some of my favorite harmonics are located between frets. There are two really cool ones between the 2nd and 3rd frets that I use a lot.

I sometimes compare making a film to cooking. Some dishes need to be stewed, while others need to be fried.

When you look at athletes, they have fundamentals.

Gurney says there's no artistry in killing with the tip, that it should be done with the edge.

For example I don't work with William Hurt the same way that I will work with Viggo. They're different guys and they work in different ways. So a good sensitive director has his general style and technique and personality that he uses but you don't impose that on the actors.

Ted Williams, an extraordinary hitter in his day, has said the swing starts in the hips, and Sosa arrived with one of the strongest lower bodies in the game.

A good dancer is not necessarily defined by great technique, skill, or ability to pick up choreography but by confidence. When you feel the music, it penetrates to your soul. Everybody's a dancer. The greatest dancer is someone who is willing to dance, not afraid.

I didn't serve and volley until I got to Wimbledon in '77.

The key is developing your game in both directions: in the build-up, joining the attack at the right moment and also in defence. You have to win the one-on-one situations and need the required pace and technique. These are the decisive factors for a defender.

When you drop-kick someone you have maybe a second's time to jump into the air, hit your opponent directly with both feet and then land without getting hurt. If you lose your balance in the air, though, you'll wind up with cracked ribs and bruised kidneys.

I always loved hitting a low fade to a back-right pin with the wind howling from the right. Not many guys could get it close in that situation, because they kept it low by just putting the ball back in their stance. You see, playing the ball back turns you into a one-trick pony - you can only hit hooks.

It's such an advantage to be able to hit short irons low on command. When it's windy, you'll hit more greens. But low shots are a great strategy in calm conditions, too: The less time the ball hangs in the air, the less time it has to stray off line from the flagstick.

He took me under his wing when I first came to the Rams and taught me everything - his technique in the pass rush, how to play off blockers, and how to make the big play.

When I got back from London, I started with a new voice teacher in the experimental wing, who trained me to have my own artistry as opposed to forcing a technique upon me.