I try to show good technique - boxing technique, wrestling technique, jiu jitsu technique.
There's an awful lot to be desired. I've gone to places where people say to me, "What's your technique?" Technique? What the hell technique is there to acting? We're acting because even with my voice I'm giving what I think is what I want to say.
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.
I find that you can use an acting technique when the thing isn't working, not that you make the technique the end result of your work. You use the technique when you're in trouble and things aren't flowing the way they should. It's a way of fooling yourself to make it work again.
Remember that for every technique you think you can fall back
on, there is a counter for it, or there are times when it cannot
be used. When real battle comes, you must remember that
some things will not be applicable. Don't think that any one
technique is quintessential.
The professional dedicates himself to mastering technique not because he believes technique is a substitute for inspiration but because he wants to be in possession of the full arsenal of skills when inspiration does come. The professional is sly. He knows that by toiling beside the front door of technique, he leaves room for genius to enter by the back.
Sahasrara is your awareness. When it is enlightened, you get into the technique of the Divine. Now there are two techniques - the technique of the Divine and the technique that you follow. You cannot act as Divine but you can use the Divine power and maneuver it.
Some people when I speak of awareness of the "inner body" call it a technique. I would not call it a technique because it is too simple for that. When the oak tree feels its roots in the earth, its connectedness with the earth, it is not practicing a technique.
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.
Technique to me is a kind of a ... I'm reluctant to talk about it because it seems so obvious to me what good technique is. I mean, you sit down, you shut up, and you pay attention is basically the good technique. And then the footnotes add; on an empty stomach, in a dark room, feeling comfortable.
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 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.
String theory has had a long and wonderful history. It originated as a technique to try to understand the strong force. It was a calculational mechanism, a way of approaching a mathematical problem that was too difficult, and it was a promising way, but it was only a technique. It was a mathematical technique rather than a theory in itself.
Technique is superficial. The method used in applying technique is what gives music its character.
To do anything artistically you have to acquire technique, but create through your technique and not with it.
Technique is the test of sincerity. If a thing isn't worth getting the technique to say, it is of inferior value.