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The biggest edge I live on is directing. That's the most scary, dangerous thing you can do in your life.
The scariest thing in my life is the first morning of production on all my movies. It's the fear of failing, the loss of face, and a sense of guilt that everybody puts their faith in you and not coming through.
If you watch the history of baseball, teams come back, and sometimes they could have come back, but they give in or give up.
You can't put a price on what Mark McGwire brings to the Cardinals organization. The responsibility he accepts is as great as any number of home runs.
In the end, as a manager or coach, you have to keep your heart pure and do your best as a manager or a coach.
To me, there is no more conscientious umpire in the Major Leagues than Jim Joyce. He gives you a hellacious effort every time.
If you seriously aspire to be a manager in the big leagues, there is a baseball 'book' that one must learn. Alongside that book, you must practice Spanish. Of 25 players on each roster, sometimes there are between eight and 15 players who speak Spanish.
If the national government doesn't fix your problem, you've got a problem. You've got to fix it yourself. That's just part of the American way.
It's easy to figure out whether you're getting stale. All you've got to do is look in the mirror and be honest with yourself.
Around New York, I used to hear that expression, 'Once a Dodger, always a Dodger.' But how about, 'Once a Yankee, always a Yankee?' There never was anything better than that. You never get over it.
Ang Lee is very precise. He will show you everything, and will let you know what he is thinking about the whole project. There are a lot of rehearsals before shooting, and you already reach a certain standard. Then he will ask for more.
I always believe that Kar-Wai has a complete script: he just doesn't show it to us. He wants us to experience and explore the character. He gives you a lot of space, and you know every time will be a very long journey. You just live in the character, and that's very different from other directors.
I'm in that comfortable niche where I'm not that famous and sometimes people do need to put a barrier between them and their followers. When you're real famous you need to do that but I'm not that famous so I don't need that kind of barrier.
Yes, alas, I've been on some recording sessions where the music wasn't good. Not so many, really, considering how many I've done. It's a very awkward situation because to do a recording well you focus on the positive of what will make the piece better.
When you give someone a commitment to ride their horse, you do it - unless, God forbid, something serious has happened. It would be laziness not to do it.
If you break your sternum or your ribs, you can still move. It's going to hurt, but if you can cope with it, you'll do it.
You only worry about your head or spinal column. Everything else, some way or another, will repair in time.
It's not hard to motivate myself because once you get a taste for winning races, you simply don't want to do anything else. You get a buzz from it. You want it every day. Only someone who has experienced winning can understand how good it feels.
I've learned the truth in these sayings: 'Luck is when opportunity meets preparation' and 'The right project will find you'.
My favorite parable for living a positive and influential life is the Golden Rule: 'Do unto others what you would have them do unto you.'
I began to pay attention to Scripture and meet people who walked the walk, and little by little, I guess you could call me a born again Christian. 1978 is when I found my walk with the Lord.
The more knowledge you've got, the more understanding you have, the better you are able to implement and pass it on to others.
Everything feels like you're in slow motion and everything you do seems like it's about two or three plays of what everybody else is doing.
Every night you have different match-ups, and you have 82 games, so physically you are going to get tired. You have to be ready mentally to bring your energy and bring the juice every night.
You might not make it to the top, but if you are doing what you love, there is much more happiness there than being rich or famous.
When you break your pelvis, you can't do a whole lot. It took me about six weeks to be able to get out of bed. Anything you do that shakes your body is painful all over, so you can't cough, you can't sneeze, and going to the bathroom is impossible.
Skating was popular, but it wasn't mainstream. It had this underground following, and you could go on tours, win decent prize money, and make royalties from signature products - that's how I came to buy a house when I was a senior in high school.
When people start talking about venture capital and finances and how to create this and do that, a lot of it, I swear, it's like sitting in an escrow meeting when all you want to do is buy a house, and you're signing 50 pieces of paper, but you have no idea what they're talking about.
You just have to adapt, and you have to realize where people are going to actually play their games. It used to just be Nintendo and PlayStation, and now it's all kind of devices. So you've got to learn to adapt what you know from the technology into those areas... I've been wanting to do a mobile game for a long time.
When I started skating, it was such a small community. You didn't aspire to be rich or famous or make a career out of it because that wasn't something anyone had done yet.
If you look at the success of snowboarding in the Winter Games and how that's brought a more youthful edge to the Olympics in general, they don't have that with the Summer Games. They don't have anything that's drawing in a younger viewership.
You write for two people, yourself and your audience, who are usually better educated and at least as smart.
Businesses often forget about the culture, and ultimately, they suffer for it because you can't deliver good service from unhappy employees.
For me, the most fun is change or growth. There are definitely elements of both that I like. Launching a business is kind of like a motorboat: You can go very quickly and turn fast.
A bigger business is like a cruise ship: There are lots of amenities and you can go a lot further, but it's harder to turn quickly.
I hated school. After 15, you went off to college if you were good enough. It didn't appeal to me so I left school. I did what everybody did - get a job.
After doing a bunch of movies as a stuntman, I realized that being a stuntman, you are in the shadow of the actor, and they don't get to see your true ability, and I wanted people to see that it was really me doing those stunts, and it was really my true abilities.
You don't have to be Jewish to understand the history of Europe in the 20th century, but it helps.
History can show you that it was one pile of bad stuff after another. It can also show you that there's been tremendous progress in knowledge, behaviour, laws, civilisation. It cannot show you that there was a meaning behind it.
There is nothing to be said for being crippled. You don't see the world better or clearer, nor do you develop some special set of skills by way of compensation.
When you are in my classroom, you get everything from me. But you bloody well better give everything too.
So I've tried to be this very eccentric character, and that works very well if you want to be a painter which I did once upon a time, if you want to be a musician which I did once upon a time. But if you want to make movies and you want to make challenging movies, you've got to be the sanest person in the room.
Everything that happens is meant to be. It's meant to happen like that. But sometimes you don't know at the time that it's meant to be disaster.
I just spend my life studying the manufacture of sound and picture and my education, if you like, has come from what I've chosen to make sounds and pictures on.
Wrestling fans are a community unlike most others. I've been a part of this community since I was 7 years old, and I can tell you that wresting fans see the world every day through a special lens.
You could argue that Barack Obama faced in '08 a situation as bad as any president since the Great Depression. What Obama inherited from the Bush administration, we all remember, was just an absolute global catastrophe.
You have to have hope. It's irresponsible to give false hope, which I think a lot of playwrights are guilty of. But I also think it's irresponsible to simply be a nihilist, which quite a lot of playwrights, especially playwrights younger than me, have become guilty of.
People shouldn't trust artists and they shouldn't trust art. Part of the fun of art is that it invites you to interpret it.
When I teach writing, I always tell my students you should assume that the audience you're writing for is smarter than you. You can't write if you don't think they're on your side, because then you start to yell at them or preach down to them.
When I'm writing a new play, there's a period where I know I shouldn't be out in public much. I imagine most people who create go through something like this. You willfully loosen some of the inner straps that hold your core together.
I'm not cynical or bitter in any way. Life's too short; you get ripped off, but if you hold a grudge, it's going to affect you. You take it on the chin, you learn, you try not to make the same mistakes.
When I started my airline business, I didn't know everything, right? If I start up a newspaper tomorrow, I might get ripped off by journalists. You'd be naive to think you know everything from day one.
Don't kid yourself that anyone in the Premier League is going to do you any favours.
Winning is an amazing feeling. You don't get that in business; you don't get that in many things.
Good leadership is to know when to go, and you only succeed as a good leader if you've transported someone else in and the company gets stronger. Then you've succeeded as leader.
If you think about it, episodic filmmaking has not been something that people have really done.
The writing is really hard. You're alone. It really pulls it out of you. You pull it out of your head. But when you're a director, you're shopping - you're picking this actor, you're picking this scene. It's like the most intense kinetic high-speed shopping of all time. You sit in a chair and it will all come rushing at you like a wind tunnel.
The main thing for me is I really like strong endings. If there's a strong ending, you can take more time in the beginning, your first act can be really quite different.
I view the whole thing as a collaboration. As an actor, I always found that to be the most freeing thing, when the director would collaborate with you, so that together you'd come up with something exponentially better.
The more decisions you make, the better, statistically, your odds of success are. And what I also learned was, it doesn't matter: anything can be fixed. When you're directing, you can agonize, but you can't indulge. Stuff has to happen.
I usually wake up around 7:30 A.M. without an alarm clock. I wake up naturally because I'm huge on sleep. I believe it's the No. 1 thing you can do if you're trying to create a better life.
Don't tell me that the rules prohibit you from hitting a guy up top. You have a whole target area above his knee up to his neck that you can hit.
I've always wanted a ring. That's been my main goal as a player over the last 15 years of my career. You're really trying to get that ultimate goal.
When you go through those hard times, that's when you ask those questions that normally you wouldn't. If you win, you don't ask questions. You don't worry about it.
You take it one game at a time because it's the most important game of the season.
You have to understand that once an indictment has been signed, all countries that are signature to the U.N. charter will hand a person straight over. You don't have to go through the normal extradition process.
Us investigators who went out into the field were faced on occasion with a lot of anger, by people saying why has it taken you five or six year to come and see me?
I think if you enjoy teaching, if you enjoy talking about your craft, that's probably the best way to do it... because once a player starts to get it, once he figures it out, he'll never forget it.
Either you have the ability to hit or not. But I also think you have to work at it.
I think the ability to hit - some guys have it and some guys don't - but I think how dedicated you are to trying to get the most out of yourself, I think kind of determines how good you are and for how long. I was born with the ability to hit, but my work ethic has taken it to the next level.
I try to keep it real simple. I try not to add a lot of frosting on what I'm doing. Just take the swing and don't muscle the swing, because if you get in the hitting position and you take the swing, I generate a lot more bat speed, and that works for me.
Like a lot of kids, you kind of think baseball's boring - that's the perception.
I'm a chemistry guy. I believe you've got to play together to have a chance to win.
Steroids do not guarantee you're going to have success. I think a lot of people think that they will, but they don't.
It's about getting in position and taking a swing. I don't care if you're taking steroids or not; if you don't do those two things, it's not going to matter anyway.
Knowing the strike zone is very important, but I think the first thing is knowing yourself, knowing what things you do well.
When you sign your name on the dotted line, it's more than just playing baseball. You have a responsibility to make good decisions and show people how things are supposed to be done.
A lot of times, you feel like you're walking on eggshells in a creative environment, because everyone's having to watch out for egos so much of the time.
But I will say that Harve Presnell... he was one of those guys who, when you're standing in a room with him... he's such an older masculine force that I remember thinking, 'Wow, his voice makes me sound like Pee-Wee Herman.'
So I turned these sort of deficiencies into a, a workable thing if you understand what I mean.
I think that, as you get older, you want to be freer rather than more bound.
I really admire the great Japanese artists who could change their name three times in a lifetime. You could get rid of one and renew yourself.
You get early inoculation against the idea of success if you're a poet. When I published my first collection of sonnets, I sold about five copies; now kids study them for A level. Wanting to be successful in that other world of money or fame is not interesting. Poetry isn't like that, and it never has been.
There's a kind of despair about whether art can really do anything, but you have to incorporate that despair into the way you work. I try to soak my work in my sense of futility and fury.
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