Quotes About Versatility

I have a lot of written material, and all of it's different. Some records that I have are country, some pop, some alternative rock. I just write what I feel, so I can't specifically say. I just want to be an artist of truth and an artist that stays true to herself.

My job stays the same, whether we're acting by candlelight, against a green screen, or on a stage somewhere. Which is just as well, because I really couldn't do anything else.

Once I reached about 14 or 15, I started to steady myself and get into a midfield role and carried that on until I was 17. Then I dropped into right-back, and I have played there ever since.

How many ways can you cut a steak? How many ways can a chord go? I've been in this business so long, I know how to cut it.

When I was playing, it was me playing both ends of the floor, playing offense, playing defense and I gave the ball up with assists. It wasn't like me doing one thing, scoring 25 and having three assists and one steal.

I have the speed. People said, 'Just hit the ball on the ground, slap the ball, just get on base.' But I wanted to be able to hit home runs. I wanted to be able to bunt, steal bases, play defense.

Stealing bases is just something I like to do. I figure if I can hit home runs and steal bases, I'd be different than everybody else.

I can bring a lot. I play both sides of the ball. I defend. I have an offensive game. I rebound the ball. I get steals a lot.

I feel I've proved I can rebound, block shots, get steals and pass the ball, too.

It's important for me to not be put into any type of box because that steals the fun of acting. I want to do everything.

I don't steer clear of genres. I simply haven't steered myself toward some of them.

You gotta step up your bars! Look, I run two labels. I sing. I dance. I don't spend all my time rapping.

I have a taekwondo background, but I also try to invent new moves and make sure that when I step into the Octagon, I'm a different fighter.

As an English actress constantly playing Americans, you already had to step way out of your box in that way.

One of the very few things that I actually read about myself on blogs that got to me was people saying, 'Ne-Yo doesn't do R&B music anymore.' Just because I stepped off the porch to explore doesn't mean I don't live in that house anymore.

I wanted to be a centre back but I was always stepping over the ball and playing one-twos.

You can really shoot things you think might work on camera one way, then you can try it that way, and then if you think it could also work another way, you have that luxury of shooting a bunch of different steps, and then they can decide in editing what works the best.

I've been playing football for a while, but Guardiola really made me a better player. I was 29 when I started working with him, so I wasn't very young, but if you see the steps I made thanks to him, it shows you what he is capable of doing. Guardiola didn't just put me on the flanks but in other positions as well.

Every part that I do has to be different from the last part that I did so I don't become a stereotype.

I know that when you do similar kind of films, one after the other, people tend to stereotype and say, 'She is only good at this.'

When I look at myself, I'm not a big man - I'm a guard. I can do everything on the basketball court. You can name it - pass, post up, shoot the ball, bring the ball up, being a playmaker - so I'm excited to break that stereotype.

There are a lot of stereotypes to be broken which I think a lot of us are doing. What I do is, as soon as people try to pin me down to one kind of part, I'll play a very different kind of role, so it explodes that stereotype.

A traveler must have the back of an ass to bear all, a tongue like the tail of a dog to flatter all, the mouth of a hog to eat what is set before him, the ear of a merchant to hear all and say nothing.

would always advise any young writer for the theater to do everything—to adapt plays, to translate plays, to hang around theaters, to paint scenery, to become an actor. . . . There's a bottomless pit in the acquisition of how to tell an imagined story to listeners and viewers.