A Quote by Lee Westwood

I've started to show the consistency in majors I had in regular tournaments back in 1998-2000 when I was contending nearly every week. — © Lee Westwood
I've started to show the consistency in majors I had in regular tournaments back in 1998-2000 when I was contending nearly every week.
Now I'm giving up a little in the week-to-week tournaments but reaping the benefits in the majors.
Some people thought I'd be on the PGA Tour, that I'd win tournaments, play in majors, contend in majors, win majors. I thought they were crazy.
You can win all the tournaments you want, but the majors are what you're remembered for. It's how you're measured as a champion in our sport. The majors are where it's at.
My favorite is doing the television show, as a variety show, every week. If the show wasn't that great one week, we could always come back and apologize, you know?
Consistency shows value. It breeds trust. You know that I'm going to show up every week.
Yeah, I started on YouTube. I posted videos every Friday and wrote new songs every week. Back then, I was in a very vulnerable place with all my fans. Now in a pandemic, it feels like I'm going back to my roots and playing on my OG piano that I played when I first started.
My first holiday to San Francisco in 1998-99 was supposed to be a two-week vacation but I ended up staying five weeks and nearly didn't come home.
Because we're playing tournaments week in and week out I'd think to myself, 'What's the point in practising?' You have no down time to yourself and you're looking for some to spend with your family and friends. But I've now realised that with the game so cut-throat and standards going up every week, it doesn't work.
We had all week to rehearse. An audience would come in at the end of the week and we'd our little show. Most of the ad- libbing happened during the week on the show.
I moved to Harvard in 1998, and in 2000 the first kidney exchange in the United States was done at a hospital nearby. I started to think, 'Gee, there might be a way where I could help organize it, make it easier for people to find kidneys.'
We're like on a rollercoaster and I don't like that because a sign of a good team is consistency, and consistency is a work ethic and it's about producing that standard, and if you can produce that standard week in, week out, whether you win or lose, that's a different thing.
One week before my 17th birthday, I had a blind date with June Rose, a television actress on network soap operas, a model, and a regular on the popular Dick Clark's Saturday night 'American Bandstand' show from New York. We were married five years later, one week after my graduation from Columbia.
The way that 'Vampire' was born was over a lunch. We got asked to do the show. A week later, we were hired. A week later, we were writing it. The minute we handed it in, it was ordered. The minute we shot it, it was picked up. Then we started working. There was never any, like, 'OK, here's what this show is...' We had to figure it out as we went.
I had an acting coach while I was doing the show and every week I could see my work improving. I really liked working on the show because I was learning new things every day.
Well, you have your regular classes, like three hours every other day, three times a week. You get twice a week to have an ice practice. Once a week you have weight lifting. It was great.
I ended up meeting this guy Stefan Simchowitz, who produced Requiem for a Dream and also went to AFI. I randomly met him in Cannes. By September of 2000, we had made a deal with this company that he was working with. They merged with us and in January of 2001, we opened WireImage. It was pretty crazy because I only started shooting celebrity stuff in 1998 - literally two and a half years later, I'm opening this company.
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