A Quote by Erik Spoelstra
We don't teach player development in that way, to be able to try to trick the officials or make sounds or jerk your head back.
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It's been kind of hard, I'm labeled as a jerk right now, you know what I mean? But I love it. I've been a jerk all my life. My momma loves this jerk. My kids love this jerk. I'm going to be a jerk in a good way, though. I'm going to be a jerk to the other teams and just go out there and play basketball. I can do that.
You may have lost your way more than a little bit, but I believe you can find your way back. That's the trick. Finding your way back.
Every manager has different opinions and all you can do as a player is try to fight and get your spot back, or at least earn your manager's trust back to try and get your spot back. There's no use sulking about it, you just get on with it and try to raise your game to get back to the level you need to be when you were starting.
I am not afraid to stop the puck with my head. I try to do it sometimes even in practice; not everyday but once in a while, I say to my teammates, shoot me in my head and I'll try to stop the puck. I am not afraid at all of the puck, so sometimes, if the shot comes at my head, it's an easier save to make with your head. Maybe the people think a different way, but for me, I do it with my head.
You work every day with your player development, try to improve through the draft, you have free agency and you have trades. I think you have to be very aggressive in each area. Sitting back and waiting sometimes is not a good thing.
As a player, you always want to know what you can do. At the end of your career, you can look back and say, look, I was able to get this much out of my playing career and I was able to become this type of player. I think that's what allows you to sleep well at night.
Your natural instinct when people are throwing punches at you is to back up. That just makes it more dangerous for you. You'll get hurt that way. You've got to teach yourself to go forward, move your feet and move your head. I'm not going to lie, that was tough for me to learn.
The only thing you really have to practice is your ability. And this is something I do all the time. I try to teach my hand to do what I'm hearing in my head at any given second. I don't sit around and practice scales. I sit around and just try to make sure my hands are following what's coming to me.
I just love making sounds. Anything that made a sound, as a kid I was just taken back by and would sit with it for ages and just try and make all different sounds on it.
Things develop in front of my camera, and then I will try to do the best out of it. I am close, but in most of the scenes, I am trying not to be seen. I think that's the trick. I think it starts in your heart, goes to the head, and the head puts it into the finger.
I try to make the voice in my head come out onto the page. I try to make it much more conversational than other writing. I speak everything, so if something sounds right I write it. It's more about sound and the rhythm of speech than written language.
The trick to writing for people is, you have to be able to turn them on in your head. And know how they'd word something or how they'd inflect it.
I think coaching is confused at times as being an arrow that only goes to a player. Those players send arrows back to you, and that’s where a relationship is developed. I don’t make a player, and a player doesn’t make me a coach. We make each other.
You cannot teach somebody to write a masterpiece, but you can certainly teach them how to improve their writing skills. And you can teach them that they can make their own voices more effective by being able to communicate more clearly and forcefully. It makes people feel more capable when they can write - for instance to make a request - of a politician - and when they are able to receive a reply.
First time you hear something, it sounds outlandish and broken and like it doesn't make sense. But once it's been in your head awhile it's as if the other thoughts in there wriggle out of the way to give it some room.
The secret to writing sound effects is having a room you can be alone in, trying to make the sounds yourself, and seeing what comes out. It's similar to if you're writing a character talking with their mouth full: the only way I know to transcribe that is to stuff my fist in my mouth and write down what sounds I make when I try to talk.
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