Quotes About Technique

I've worked with Tom House and Adam Dedeaux, and both of those guys helped me out just pure mechanically.

Stylistically, Tommy Hearns is much better than Marvin Hagler - his technique and punching were better - but he just couldn't do it. He couldn't beat Marvin Hagler, and it's because styles make fights.

I love looking back at the older fights; they don't make them like they used to. Just watching Tommy Hearns, the technique in his punching, the brilliance and the combinations from the likes of Ray Leonard and 'Sugar' Ray Robinson.

The number of strokes to the inch controls the pitch of the note: the more, the higher the pitch; the fewer, the lower the pitch, the size of the stroke controls the loudness... the tone quality is the most difficult element to control, it is made by the shape of the strokes.

It's hard being a Broadway actor going into film where you have to tone everything down. In theater, everything you're taught is to be big and broad and make everyone feel like they are right next to you, even in the last row of seats.

In 1977, I had Paul Rivera hotrod six Fender Deluxes for me. At that time, a lot of studio guys in L.A. were using those - not so much live guys but studio guys. They had terrific tone and great technique, and I was like, 'Well, I like having terrific tone even though I don't have any technique.'

I'm trying to enlarge what I do with my voice, not through technique but just through the sounds. I think we all make noises, and particularly when we get involved or emotional about something, the colors and the tones of those noises change.

Tons of musicians who I love are imprisoned by their identity. That can be totally fine because they are so amazing in their technique, but for me, I'm a little too restless for that.

Some memorizers arbitrarily associate each playing card with a familiar person or object, so that the king of clubs is represented by, say, Tony Danza. The grand masters associate each card with a person, an action, or an object so that every group of three cards can be converted into a sentence.

When I started to be a coach, I expected a lot - maybe too much - in terms of physical approach, tactics, and technique. There was too little emphasis on human relationships.

When I fought with Michael Johnson, when I took his arm for the kimura, I can break it, but I go very slowly, be careful, because I don't want to give him injury.

Frank Sinatra taught me how to do him. It took me seven years to master him. He would tell me, tap your foot, Rich, and don't forget to grasp your sleeve.

I took Meisner for a long time. I use a lot of sense memory and, well, I wouldn't say Method, but I can't really avoid getting into character.

Affirmative action is the most important antidiscrimination technique ever instituted in the United States. It is the one tool that has had a demonstrable effect on discrimination... Affirmative action, by all statistical measures, has been the central ingredient to the creation of the black middle class.

As a filmmaker, every tool you get to tell the scene better is important.

I'm not a huge fan of improv theater or improv sports or whatever, because it still just looks like a tool. It looks like a technique to me.

I think improvisation is a technique and a tool. I think that even the best of them fail most of the time, and in the end, the audience is not interested in how you got there but in what you're saying. The more clearly and concisely and artistically you say it, the more effective it is.

One thing that's always been important to me is to try and build a tool kit, drumming-wise, that was diverse and wide-ranging in terms of what I played.

I think 'Lost' didn't invent the flashback, obviously. It's been a cinematic tool. It's been around almost as long as cinema has.

I have always been a puncher, but I tried to use my other tools and take my time, because in boxing, you need longevity. I can have a dust-up and knock anyone out in the first round, but you need more than that.

I'm born originally in Toronto, and I have what I call my 'Fame' story. I took a Greyhound bus and went to Alvin Ailey and received Dunham, Horton, Graham technique there, but I could never take my eyes off of Balanchine doing 'Nutcracker'; to me he's the best who ever did it.

Engineers don't have that sixth sense where we can just toss in things here and there like many chefs.

The beauty of the game is strength, stamina and technique and when you shorten the game, technique goes for a toss and the quality of badminton will surely go down in this system.

I don't like to dump the dressing on top of the greens. Instead, I pour it against the side of the bowl - using only enough to glaze the leaves - then toss.