Quotes About Technique

When I'm really purring it, I feel as if my whole left side - from knee to hip to shoulder - is turning behind me as I swing through the ball.

Like turning potatoes or making a bearnaise sauce by hand, forming a cornet - essentially a DIY pastry bag - from parchment paper feels like one of those things culinary students do once or twice and then never again.

I'm not somebody that opens a playbook and just turns and reads and reads. That doesn't do it for me.

What strikes me, the more I cook, is that the best recipes are ones where the basic anatomy is so sound it will survive multiple adjustments. When a recipe has good bones, you can change the seasoning, double the garlic, swap lime for lemon, and it still turns out delicious.

I'm going to focus on speed, doing little things like my turns and my starts - just speed.

Those edges and turns teach control and discipline, just like finger exercises on the piano.

I write in freehand equivalents because measuring, to me, takes away from the creative process of cooking. Two turns of the pan with EVOO is about two tablespoons.

I learn from Kevin Spacey and Tom Hardy, watching these guys work, the things they all do differently. Tom never stops exploring and discovering, take after take. His mind never turns off.

When I play under bright lights on TV, the reflection off the dart barrel could be distracting. It's not high-tech stuff but I use the flame from the gas cooker at home to blacken the metal and dull them.

You can not do what you want to do unless you know the correct technique. The only other way you can learn how to do it is by doing it yourself, which would take twice as long than if you went to school.

I can act with either eye, but you've got to be twice as good as an actor to act with one eye. You need to put all your emotions just through one eye and really punch it out of that eye. I found it quite difficult to do at first, and then I found a technique that allowed me to act with one eye, which I patented.

At some point I decided I didn't want to learn any more guitar technique. I was at that level where the next mountain there was to climb was Van Halen and I didn't really like Van Halen.

Obviously this is the next frontier - once you've mastered grilling, smoking is what you're going to want to do.

Often people going into directing want to learn as much as they possibly can about "technique." And I say the hell with that.

The process is only a means to an end-creating the painting I want. It doesn't mean anything itself. It's only a way of creating a result.

The thing about throwing a fastball is, you want it to be easy, you want it to be effortless.

One trick, known as the journey method or 'memory palace,' is to conjure up a familiar space in the mind's eye, and then populate it with images of whatever it is you want to remember.

I've never really played golf. With the sax, I learned technique well enough so that it feels like part of my body, and I just express myself. That's where I want to get in golf.

Yes. I tried to use the same technique with you. I didn't want to pass out.

Plie is the first thing you learn and the last thing you master.

You cannot train saving with your feet, but sometimes it is instinct. Sometimes it is quicker to go with the feet; going with the hands is sometimes more difficult. Even when I was young, I would go with my feet, it's something good for me.

And then you have the classical ballerinas, they're like sopranos. Applied to the dance.

I play the way I do because it allows me to come up with the sickest sounds possible. That's the point now isn't it?

When you're recording, if you're not really clean in your playing, it sounds like a mess.