A Quote by Phil Hellmuth
There are times when success doesn't make sense on a purely mathematical basis. I've played absolutely perfectly before, put in a masterful performance, and then my perfect play evaporated because one guy lost his mind and got lucky. Of course, I've also won that way.
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You look at a Pete Rose to be the terrific athlete he is and then he falls on hard times, but when he played the game, I got something from the way he played the game because he hustled every play, and just because he had one mistake in his life, am I supposed to throw back everything that I gained from him?
You make other team think you going one way and you got to sell the move going that way and you've got to really make them think that you're going that way and they're going the other way. When it ends up ultimately being a perfect crossover is when you shake them so bad that they can't even get back into the play to play defense. You're already gone. That's what I think the perfect one is to where a teammate of his has to stop you from scoring.
There's no such thing as a perfect guy. I think it would be strange if somebody was absolutely everything you always wanted, because then there'd be no challenge. Also, you'd feel inferior.
I had never fought a guy before that I had put on a pedestal the way I did with Carlos Condit. I've got his walkout shirt. He's a former champion. I'm a huge fan. I doubted myself a lot of times.
If I buy a luxury gift for someone I love, it's got to be perfect. The product has to be in perfect condition from the company. If I'm going to buy a luxury watch or luxury car or clothing for someone I love, it's got to be perfect, and they've got to handle it perfectly. They have to pack it perfectly. I want the people that I love to have that great experience, because you're paying so much, you should have it perfect.
You never build the perfect building. Only Allah is perfect. Life is such. You make decisions on conclusions, then some guy invents something else and the world changes. That's comforting. There's no one way to use museums, no one way to do art. That also means there is no one way to build museums.
My idea of success was to be a boy - possibly because my brothers, Leon and Arthur, were my father's pride and joy, whereas he had to be introduced to me several times before he got it firmly planted in his mind that I was part of the family.
I think I played in Lambeau maybe 14, 15 times. I've played there a lot of times. It's in the teens, double digit. I've had success on that field, won and lost.
The other thing is that when people mention computers - and I'm pretty much the same - they find it hard to comprehend that there's a performance there. They look at it as something that's just been made by a computer but in a way the difference is that when you make a normal film - and I'm simplifying it here - you put on the make-up and you put the scenery in before you start shooting, but with this you still perform in the same way but then you put the make-up on after, along with the costumes and scenery.
The best player I ever played with is probably Cesc Fabregas. I only got to play with him for a year before he went back to Barcelona, but I learned so much from him - the way he knew what he was going to do with the ball before he got it and his passing - and he scored goals.
I'm the guy who will persist in his path. I'm the guy who will make you laugh. I'm the guy who strives to be open. I'm the guy who's been heartbroken. I'm the guy who has been on his own, and I'm the guy who's felt alone. I'm the guy who holds your hand, and I'm the guy who will stand up and be a man. I'm the guy who tries to make things better. I'm the guy who's the whitest half Cuban ever. I'm the guy who's lost more than he's won. I'm the guy who's turn, but never spun. I'm the guy you couldn't see. I'm that guy, and that guy is me.
My mom tells this story that even when I was in the womb, my father played the piano and she sang. So, before I officially got here, I was already surrounded by music. I also like the way my father explains it. When I was about 3-years old, in order to keep me quiet, my father would put me in the bassinet and either put on some music or play the piano. When he started playing, I got quiet and eventually went to sleep. He said by the time I turned 3, I just climbed up on the piano and started playing it with the attitude of I'm gonna play dis here piano.
A good player who loses at chess is genuinely convinced hat he has lost because of a mistake, and he looks for this mistake in the beginning of his game, but forgets that there were also mistakes at ever step in the course of the game, that none of his moves was perfect. The mistake he pays attention to is conspicuous only because his opponent took advantage of it.
I'm not a jukebox; I don't play exactly what the crowd wants to hear - that doesn't make sense. But, I do look at people requests. At the end of the day, they are the ticket payers and they are the ones that come to the show. If I played music that purely entertains me, I'd play very weird music.
He wanted us to play whatever we played in the most characteristic and appropriate style. Even it was the theme from 'The Godfather,' you needed to play that then the way that a Hollywood producer would expect it to be played. Whether it was that or the posthorn solo from Mahler's Symphony No. 3, he would expect that to be played in the way that Leonard Bernstein wanted to hear it. In retrospect, I think it was a sensational way to teach this particular group of students. By the time you graduated you could absolutely read anything with any trumpet.
Studying music involves a lot of mathematics and a lot of exercises of memory. Or you've got to be able to be like somebody, to play like somebody, to play Mozart's music the way he played it and how he intended it. You've got to make it perfect, and that's not what I want to do. Although it is beautiful.
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