Quotes About Evaluation

At the end of the day, it's the general managers' and the scouts' opinion on you and what teams need, what they're looking for.

If I don't like seeing myself on the screen, I think when I start seeing that, that's when I think I'll stop.

I can't watch most of my work. Once I come on screen, all I can think of is 'What am I doing with my hands?' or 'Why did I lean that way?' or 'What's that look on my face?' It's too difficult to not focus on evaluating my acting.

I'd get scripts and think: 'What's the point of this?'

If the scripts are not good, I'll tell somebody, 'This isn't good.'

I read a lot of scripts, but few of them stand out to me.

Most scripts are bad. I read a lot of them.

When I read a script, I always - the first question I ask myself is, 'Is there something that I could bring to it that maybe the next guy wouldn't?' Because I've read a lot of very good scripts and thought there are people who could do this better than I.

When it comes to scripts, I take a critical look at them and then sound it off with Dad.

Those auditions - you sit down, and literally the whole time you're there, they scrutinize you, and you know that. But you can't take it personally.

I have been a part of stage shows, but yes, I do get cold feet when I think that every move of mine will be under scrutiny!

It's much more fun to be involved, much more fun to be under the scrutiny, much more fun to be second-guessed than to not.

Every coach should be under scrutiny.

I think I don't really have any expectations; I don't look at the season as a whole - I look at it race by race.

You know how things go in football. Seasons are long, and you have to see how things progress.

Give me one coach in any sport that's not always on the hot seat. You're just as good as your last game... You're always on a hot seat.

You always depend on what the owners think of the job you are doing.

I attempt to write a good novel. Whether it is literature or not is something that will be decided by the ages, not by me and not by a pack of critics around the globe.

When I look at offers, I think about the entire package and how it is going to work in my favour or how it's going to project me.

You know if you have driven well or not, but sometimes because of the car or package you simply cannot do any more.

I read a lot of scripts, so I know by page 25 if I like it or not.

I'm not getting paid right now. No pay, no critique.

I've found during the times when I've gone through several rounds of auditions that they have really taken pains to consider me, and that makes an enormous difference.

You just don't know when you get all the paint across the canvas how it will turn out. When you step back after you've finished, you say, 'This one is not so good. This one is good.'