A Quote by Dorothy Malone

I had had no art training. — © Dorothy Malone
I had had no art training.
I think I would have had an easier time of it if I had had training much earlier. Because when I got to the training, it was in my late 30s and I already probably had every bad habit a singer could have. In fact, it still goes on. It's un-training those habits and retraining new ones - the breathing, the relaxation, the tongue, the lungs, the everything.
One of the great events in my life was my first meeting with Edison. This wonderful man, who had received no scientific training, yet had accomplished so much, filled me with amazement. I felt that the time I had spent studying languages, literature and art was wasted; though later, of course, I learned this was not so.
When we started training with WWE, coaches were impressed and asked if we had had boxing training. I said no, it was all soccer. As a defender, I had to learn to stay on my feet, track backwards, and I feel all the movement I do in the ring was helped by my soccer background.
I had a lot of dealings with Bergkamp. I started with the under-17s at Ajax, and he was the assistant coach. Once or twice a week, we had individual one-to-one training sessions. You just watched Bergkamp. When you see him in training, he had skills that a guy just shouldn't be allowed to have.
The wonderful news is that when a person with my lack of art background can be successful, then anyone can. I'm not super talented and had no art training. Nothing, nada, zip. No workshops or classes.
I was at the Royal Art School. That was a preparatory school specially for art teachers. You see, it was not so much for the development of artists. But we had there terribly stiff training.
As I developed as an artist and studied art history, I noticed that all the great works were dealing with the human condition. [Art] had humor in it. It had sex in it. But it also had sorrow running through it.
Predominantly training myself for so long worked, I had great success. But if I had someone there training me day-in day-out from an early age? It could have been a whole different story.
You had to be strong in the head... training, training and training. That is the only way, even if you have big talent.
I had always drawn, every day as long as I had held a pencil, and just assumed everyone else had too…Art had saved me and helped me fit in…Art was always my saving grace…Comedy didn’t come until much later for me. I’ve always tried to combine the two things, art and comedy, and couldn’t make a choice between the two. It was always my ambition to make comedy with an art-school slant, and art that could be funny instead of po-faced.
I thought you had to give up a lot for art, and you did. It required complete concentration. It also required that whatever money you had had to be put into art materials.
I have always been interested in art but had no formal training or experience. It's always been just what I liked, my eye for art.
I came to my first Colts training camp in July of 1950, and it was murder, absolute murder. We had a coach named Clem Crow who must have been nuts. You got to remember that I'd been a Marine, had gone through basic training and spent 26 months in the Pacific during WWII, but the Marine drill instructors had nothing on Clem.
The people that really were important, that mattered, had a great foundation. I had no training. I had to learn while doing, and it was really difficult.
I started formal piano training when I was 4. From there I had little violas, and I had dancing lessons of every sort and description, and painting lessons. I had German. And shorthand.
I had thought training for Mercury was rigorous. Once we got caught up in the Gemini training program, our Mercury training looked pretty soft.
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