A Quote by Carson Palmer
Extra thick skin is something every Bruce Arians' quarterback needs to have because the stuff he says to media is rated G compared to the stuff he says to your face on the sideline and after the game in the locker room and throughout the week.
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There'd be days I was in the locker room with my dad doing media, and there'd be other days that I'd be with my mom in the press box and just kind of looking at stuff from that point of view. I'd see guys writing stories after the game and stuff like that. So it was cool to me to see both sides.
I was very emotional. I cried when I got into the locker room. I didn’t want to show that stuff on the sideline.
Donald Trump is a guy that's gets stuff done. If he says he's gonna do something, he does it. He doesn't worry about it. He's got thick skin. He's gonna do it. He's gonna bring jobs back.
Your skin is your largest organ, and it wants to breathe. There are so many times, like Fashion Week, when you [need to] think about all the stuff your skin and body have absorbed through makeup and products and all this stuff.
If your friend is critical [of your work], you have to have a very thick skin and a thick skin is something that only builds up after it's callused for awhile.
The thing that I always respected about Bruce Arians was, when he was at Pittsburgh, he let Ben Roethlisberger decide what he liked. I used to do that. You can put something in and force-feed it to a quarterback. But if he doesn't like it and have his heart in it, it's not going to be as good as when he really likes something.
I try to have thick skin, but every once in a while I read something that someone says about me, and it's so slanderous and moralistic and it has nothing to do with my music.
I'm picky about skin care because I hate perfumes or anything that says 'It will take away all the lines on your face.' I don't want to do that. But I do use Kiehl's and this skin cream called Restorsea because it makes my skin look nice and feel soft.
All the stuff I love most in game storytelling is never the big-picture stuff; it's the stuff that feels like curlicues, stuff that's just there because it's a game and because you can do it.
A writer with her work needs to be like a dog with a bone all the time. She needs to know where she's hidden it. Where she's stored the good stuff. She needs to keep gnawing at it, even after all the meat seems to be gone. When a student of mine says (okay, whines) that she's impatient, or tired, or the worst: isn't it good enough? this may be harsh, but she loses just a little bit of my respect. Because there is no room for impatience, or exhaustion, or self-satisfaction, or laziness. All of these really mean, simply, that the inner censor has won the day.
People know Troy Aikman as a Super Bowl-winning quarterback. That carries tremendous weight. Because he really guards against overexposure, or just saying stuff for effect. When he really says something that's critical, people notice.
In the performing arts you have to have thick, thick, thick skin, because of all the rejection you face on a daily basis, and the fact that work never lasts for very long. But you need thin, thin, thin skin in order to access all of your emotions and your creativity so that you can express it. You can't be dead inside. Otherwise you've got nothing to give. So it's a paradox, that we have to exist in both planes in order to do what we do.
My mom gets mad because she'll read on Twitter or some message board that Spencer Paysinger is no good, and the Giants need to get rid of him. I tell her to stop reading that stuff because, at the end of the day, the media has no say on what happens in the locker room.
I'm an organizational fanatic. I created a locker room that the children pass through when they come in the house. Each child has a personal locker, and every day when they arrive home from school, they dump their stuff there-backpacks, shoes, soccer uniforms. I organize them by season.
I never write something and consciously embed political commentary or any other kind of commentary. I just try to get the characters into a room or out of a room, or onto the plane, or through the grocery store. The political stuff, the class stuff, the gender stuff, is in the air, it's in their interactions, because it's there for all of us.
I'm a mumbler. If I'm walking with a friend, and I say something, he says, "What?" So I say it again, and he says, "What?" Really, it's just some insignificant stuff I'm saying, but now I'm yelling, "That tree is far away!"
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