A Quote by Toni Duggan

Naturally, managers and coaches are trying to find different ways to work. — © Toni Duggan
Naturally, managers and coaches are trying to find different ways to work.
People always get confused. They talk about coaches. The reality is, these coaches and managers that everybody thinks are in so much control, they work for us. They're our employees.
Giannis is truly a student of the game. He listens to the coaches, they show him film, and he's always in the gym working on his game and trying to find ways to get better.
Different managers give confidence in different ways. Some by hugging, others by talking or having conversations.
I respect Bielsa a lot. For me, he is a special coach. I think the best coaches in the world work in different things, and a lot of coaches, we cannot train like Bielsa. It's difficult to train like Bielsa. But every coach can learn from different coaches. But with Bielsa, I think all coaches learn something from him.
All coaches have different ways of working.
If you're trying to be realistic and bring real life to the screen, you are going to have different elements. That's what I'm trying to do. As I make the movie, different elements come in naturally.
I could sum it up in one thing: A guy has to be what he is. He's got to coach and have a philosophy based on his own personality. You see too many coaches trying to imitate other coaches, trying to be someone else. It's all right to emulate the qualities of good coaches but I don't think you should imitate. You've got to be yourself.
Imagination is very important to having vision and trying to find things that are different, alternate ways.
Even in traditional filmmaking, you're always trying to find novel ways of telling stories, and this is different.
I never set out to work on the concept of androgyny. For me, it was more about trying to find a wardrobe that would fundamentally appeal to both men and women: Trying to find the right shirt, the right jeans, the right trouser - but on different landscapes.
Any time you add something to your game, you still have to find ways to improve, so I'm still studying the game and trying to find out ways to increase how we use me on the floor. You're not being complacent, not falling back and floating around the perimeter too much, figuring out when to attack. I'm trying to find that balance between attacking and spotting up and things like that.
I want to get better as an actor, to keep trying to work harder, trying to discover something different. In some ways, it's a pretty frightening experience. But normally, I do tend to walk against fear and hope that I'll be able to survive.
As a whole, the managers today are different in temperament. Most have very good communication skills and are more understanding of the umpire's job. That doesn't mean they are better managers. It just means that I perceive today's managers a bit differently.
Different coaches have different schemes, so for me, it's about learning and being able to adjust and adapt to these coaches. It fills your toolbox.
There's something refreshing about going to work with a different group of dancers. There are different ways of moving, different ways in which the institution functions. There's a contrast from place to place, so the variety and the experience of working in a different place feeds me.
It's not that you're not smart anymore; it's that you're unwilling to do it. Coaches who coach know what I'm talking about. You just keep battling to help your coaches and your players, to refine your scheme, to break down your opponent, to find ways to travel and take care of your players.
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