Treat the world like a failed state, then you can understand the players needed to fix it.
The reality is that players can't play forever.
It takes the pressure off of your better players to know they don't always have to be on top of their game for the team to do well.
When it was time for a player to go, he went.
Bridge-players tell me that there must be some money on the game 'or else people won't take it seriously'. Apparently it's like that. Your bid - for God or no God, for a good God or the Cosmic Sadist, for eternal life or nonentity - will not be serious if nothing much is staked on it. And you will never discover how serious it was until the stakes are raised horribly high, until you find that you are playing not for counters or for sixpences but for every penny you have in the world.
There are only two things a manager needs to know: When to change pitchers and how to get along with your players.
While it's a great indulgence, it's also very interesting to have three bass players on the same track.
Being a day player, period, is one of the hardest things you can do as an actor.
I always just wanted to be the singer or the bass player in the band. I'd love to have a band, where I was obviously the singer, but where it wasn't me, it wasn't my name.
Steve Van Zandt, the poor guy, doesn't get to play enough as it is with me hogging a lot of the solos. Steve has always been a fabulous guitarist. Back from the day when we were both teenagers together, he led his band and played lead and was always a hot guitar player.
I was a guitar player on the streets of Asbury Park and already a member in good standing amongst those who lie in service of the truth - artists with a small A. But I held four clean aces. I had youth, almost a decade of hardcore bar band experience, a good group of homegrown musicians who were attuned to my performance style, and a story to tell.
There was a way that I approached that with the art department and the background players, which was that I didn't want people to have stepped out of a catalogue. This is not a world of perfect beauty. I wanted it to be the real world of the 1960s. I know that some women walked out of the house without lipstick.
My D'Angelico is a jazz archtop guitar. That guitar was made for Glenn Miller's guitar player in 1939. It's a '39 D'Angelico New Yorker.
The only thing I want to be able to do is come in and learn the offense, go out there and compete, show what I am capable of doing and try to get better as a football player.
It infuriates me that stuff from the Internet routinely doesn't include all the credits. Because as soon as I listen to something, if I like it, I want to know, "Who's the bass player?" "Who did that?" "Who's the engineer on this?
The ugliest player I ever signed was Kenny Burns.
The quality of players - the likes of Sam Tomkins, Rangi Chase and Lee Briers - bring an X-factor to the game. It's highly entertaining and it's something probably that the Australian game lacks a bit.
One thing I think you have to do here at Wisconsin is maximize your personnel. From the standpoint of getting our best players out there, you've really got to make sure you're not burying anybody at a position.
It's the nature of it. The players will want to compete at the highest level they possibly can.
If you give a bad player time, he can play. If you give a good player time, he can kill you.
I think my history as a coach shows I like players who are gifted technically and have courage when it comes to being in possession of a football. That is a key quality for me.
A player's character is a crucial factor I look into before committing to signing them. They also need to show a willingness to learn, regardless of age and experience; that's very important to me.
More often than not, you find players seeing something that they can help another player with or reinforce something the coaches are seeing. Veterans do that regularly with younger players.
After several years in the league, when a player becomes a vested veteran in the NFL, they play under a different set of rules. For instance, if you cut a vested veteran mid-season and they don't get picked up by another team, you owe them the remainder of their salary.
Once you've proved to [the players] that you can help them become better players, you've earned their respect. They respect if you've achieved at a high level in this league, but that's not what they respect you for as a coach.
