A Quote by Alfred Brendel
You need three or five hands to play Ligeti.
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I can play three positions - five in college - but realistically three in the NBA.
I'm one of five; I have three sisters, so I've always had three best girlfriends. Actually, I'm the middle child, so it's no surprise I went into acting! There's a need to be seen.
The reality is it's still in our hands. We have to play four real good games against the Angels. If we take three of four we're still two back and then we'd need help. We'd still be breathing, but we'd need help. We'll shoot all our bullets to try and win that game (Monday) and worry about the next day when we get there.
In my dreams is a country where the State is the Church and the Church the people: three in one and one in three. It is a commonwealth in which work is play and play is life: three in one and one in three. It is a temple in which the priest is the worshiper and the worshiper the worshipped: three in one and one in three. It is a godhead in which all life is human and all humanity divine: three in one and one in three.
The best advice when playing from the small blind is to mix up your play. The general rules are to fold garbage hands, limp with marginal hands, and raise with hands that are strong enough to play big pots with. Don't allow your opponents, however, to pick up patterns in your play.
A child of three cannot raise its chubby fist to its mouth to remove a piece of carpet which it is through eating, without being made the subject of a psychological seminar of child-welfare experts, and written up, along with five hundred other children of three who have put their hands to their mouths for the same reason.
That's why basketball was so good, because I didn't really need you or anyone else to play it. It would be better if we played four-on-four or five-on-five, but I could go out there alone.
In high school I wore No. 8, in college I wore No. 5, and five plus three is eight and five minus three is two, you know? Addition and subtraction.
When we play with three at the back, we need active players, who tie up the opposition and play passes forward.
I need to play three or four weeks to get into a rhythm. I'm not like Tiger. I can't play one week and win.
My positioning with my investors was always, I need three to five years.
I write in the mornings, two or three hours every day, and then at least four times a week I play in a duplicate game at a bridge club. I try to go to tournaments three, four, or five times a year.
When you are young and you play football, you must play in the street. When you go to a club at the age of five, and the coach says you must pass this, eat this, drink this... it's not a life. Young people must train for themselves, play football every day, and not have three coaches, with each one saying this and this.
If there's one thing I feel very strongly about, it's that there shouldn't be a distinction between pianists who play Ligeti and those who play Chopin. It might seem that they involve different skill sets, but I don't think that's true: whether playing Ives or Bach or Beethoven, you must bring the same imagination, the same sensitivity, and an ability to deal with same kinds of musical problems. The method behind my madness, anyway, is to keep plugging away at this idea.
I love playing football. I started playing for a school team, which is fun, and I play a lot of five a side. I nowhere near good enough to go professional but it's definitely one of my main hobbies. I play three times a week.
I decided I wanted to be a musician when I saw the movie 'Amadeus' around 1987. I was five years old, so it was a good time to start piano lessons after seeing Tom Hulce who played Mozart play the harpsichord on his back with his hands crossed. Such a great movie to inspire a five-year-old.
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