These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what 'technique' means. But I do know what experience is.
I don't know what the hell I'm doing up there half the time. These performers that go on about their technique and craft - oh, puleeze! How boring! I don't know what technique means. But I do know what experience is. I know in my gut when I've done a scene right.
The only craft and technique you have legitimate access to is the craft and technique you forgot, that has dissolved itself into the unconscious... Because you have learned it so well you have forgotten it.
I've studied a technique called the Sanford Miesner technique, that teaches you how to focus. It's mainly about daydreaming. And the technique's really about imaginary circumstances. Using your imagination to sort of daydream about stuff. It makes you emotional in a scene.
I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
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 guess it's just my job to somehow balance knowing that every song is going to come differently and be different, but also know that, on the other hand, I am a songwriter and I am a craftsman, and I do have a craft and a technique and a method. So I need to balance the technique and the method.
There's a difference between craft and painting. Craft, your job is to make it exactly the same every time. Painting is the opposite, but in painting there is some craftsmanship, which is called technique. But technique is spontaneous. That's the treasure, the most important part. You are in it.
Karate's a very boring sport, but when you know the technique you can go further and further.
Sometimes I just rely on technique on stage, but it's not about technique. It's about how much you want to deliver the message to the audience. That's all.
Everywhere there is craft and technique; everywhere there is artistry and form. Art itself, technique, is ponderous and clumsy, and because of its awkwardness it obstructs that inner element.
Technique is the basis of every pursuit. If you're a sportsman or you're a singer or a swimmer, well that comes under sport but you have to develop a basic technique to know what you're doing at any given time.
I knew nothing about the technique of story writing, and now, after eighteen years of writing, I still know nothing about the technique, although with the publication of my new novel, Tarzan and the Lost Empire, there are 31 books on my list.
Often it is the means that justify the ends: goals advance technique and technique survives even when goal structures crumble.
There are two types of people, two types of performers: Performers who know how to keep a show going, literally, when the power is gone and performers who haven't had that much experience and will panic and freak out and don't know what to do.
There are two types of people, two types of performers: Performers who know how to keep a show going literally when the power is gone and performers who haven't had that much experience and will panic and freak out and don't know what to do.
No technique is possible when men are free. Technique requires predictability and, no less, exactness of prediction. It is necessary, then, that technique prevail over the human being.