A Quote by Alastair Cook

I suppose you could say I was always having to defend my style of captaincy. I did get a lot of criticism - some of it justified, other times as part of a tactic. — © Alastair Cook
I suppose you could say I was always having to defend my style of captaincy. I did get a lot of criticism - some of it justified, other times as part of a tactic.
I thought I'm going to die. So why can't I do everything? And what is this idea that I worked all day yesterday, so I'm tired today? I've never believed that.I thought, "Just suppose I could choreograph a ballet." And I did it. Suppose I could teach dance at the theater in Cleveland. And I did it. Suppose I could sing for a living - that I could stop these two jobs as a waitress and a salesperson.
My technique is laughable at times. I have developed a style of my own, I suppose, which creeps around. I don't have to have too much technique for it. I've developed the parts of my technique that are useful to me. I'll never be a very fast guitar player. I don't really know what to say about my style. There's always a melodic intent in there.
I spent a lot of times sitting in big rooms full of a lot of men and executives thinking, 'What would Oprah say right now?' and trying to channel that as hard as I could. And mostly that was just about having the confidence. If this woman did it, it can be done. And there's no reason for anybody to stop you.
My own style on the guitar grew out of my experience with the lute. I suppose some people might say I play each like the other. And of course I know a lot of guitar fans who wish I would stop playing the lute and vice versa.
Vert skating was the kind of skating that was done in pools, where you could get airborne and be weightless. The other style, which is what I did, was called free style, which was tricks you could do on flat ground.
That's part of this industry. It's hard a lot of the time, especially when you get knocked down a lot. There's a lot of criticism and it's always in the back of your mind that you may never work again.
I don't know who the great lawyers are, and I presume you can't get to them. I know of no case where it can be said for certain that they took part. They defend some people, but you can't get them to do that through your own efforts, they only defend the ones they want to defend. But I assume a case they take on must have progressed beyond the lower court. It's better not to think of them at all, otherwise you'll find the consultations with the other lawyers, their advice and their assistance, extremely disgusting and useless.
I'm always very careful to make the distinction between music criticism and music journalism. A lot of people don't. But criticism doesn't require reporting. You can write criticism at home in your underwear. On the other hand, journalism takes legwork - you have to get out there and see things and talk to people.
He read a lot. He used a lot of big words. I think maybe part of what got him into trouble was that he did too much thinking. Sometimes he tried too hard to make sense of the world, to figure out why people were bad to each other so often. A couple of times I tried to tell him it was a mistake to get too deep into that kind of stuff, but Alex got stuck on things. He always had to know the absolute right answer before he could go on to the next thing.
You can't just think that you will get a job for no good reason... And I think that the other part is you have to work your way up, you know I did a lot of Xeroxing and getting coffee...I always did what I was asked to do. I delivered. People knew that I would get things done and get them done well. And that is a big part of our resumes, are based on being responsible and being willing to do what needed to be done.
Did I have a mis-spent youth? I suppose I did in that I left school early without any qualifications, having bunked off a few times for tournaments.
I don't want to grow a thick skin. Some people say, "Oh, you're an actress, you have to get used to criticism." But I don't accept that. I'll never get used to criticism, and I'll always care about whether or not people like my performances - because I'm an entertainer, and I want to please.
I like a lot of hardcore, but it's just a genre about which I don't have much to say. It's kind of a thing where, unless you're active in the hardcore community, what could you have to say of value about it? It resists criticism because it's not just a style but an entrance into several different worlds of ideas- political, philosophical, societal. The music is really only part of the whole scene. In that sense, the music doesn't change much because it shouldn't: It needs to be there as a signal that you're entering into a certain discursive mode, maybe.
I always love costume, and I'm always heavily involved in how things should look. Or how they should feel really, because that's part of the way I suppose I get into character in some ways. It's a lot about costume.
Stars are good too. I wish I could get some to put in my hair. But I suppose I never can. You would be surprised to find how far off they are, for they do not look it. When they first showed last night I tried to knock some down with a pole, but it didn't reach, which astonished me. Then I tried clods till I was all tired out, but I never got one. I did make some close shots, for I saw the black blot of the clod sail right into thee midst of the golden clusters forty or fifty times, just barely missing them, and if I could've held out a little longer, maybe I could've got one.
Contemplation: I read a lot of books on philosophy and religion, and try to keep always growing in that part of my life, because without having a spiritual grounding, I think you can get really swayed by the winds of all the praise or the criticism; it's all very, kind of, up and down. Try to stay up and focused.
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