Brendan Rodgers Quotes

You don't know a player until you coach him.

You measure a player from the head up.

You could have a player that gave you some iffiness but his talent would make a real contribution, but you had to have an overwhelming base of players so you know exactly what you had.

The relevant question isn't, 'Is this a potential friend for me?' but, 'Is this character alive?'

There's always two or three players I like, and why I like them, I can't tell you. There's just something about them I think would be great on a team.

I think there's always enough right in front of me worrying about who's playing the minutes tomorrow, but you've always got to have an eye on a year or two from now and what those guys will do if you think, 'Well, let's give them a full year at the 905 and see how they progress.'

I think there's a danger in letting someone else shape how you're going to approach a player. Every person has somebody who's going to say something negative about them, you know? If you pay attention to all that stuff instead of seeing it for your own eyes, you can miss out on some opportunities.

The key for scouting is trying to predict when the player is peaking.

One game is never going to define a player.

I just hope I get picked by the right team and the team that really wants me and a team where I can help and take it to the next level.

I don't want people to know anything about me, because that's not important. I'm more interested in the me that takes shape through the characters.

Rob Doherty has been a real superstar for us The Mentalist for years. He is an extremely talented writer, and he just tapped into the DNA of this character in a way that we'd not heard before. So, from the moment it walked in the door, and then we read the script, it was a definite player for us.

We judge individual man and women as we do nations and races -- by the character of their achievement and by their achievement of character.

I'm not a big fan of violent movies, it's not something I like to watch. And it's not my aim or goal to make a violent movie. My characters are very important, so when I'm trying to depict a certain character in my movie, if my character is violent, it will be expressed that way in the film. You cannot really deny what a character is about. To repeat, my movie end up becoming violent, but I don't start with the intent of making violent movies.

The most important thing, when playing characters with chemistry, is being able to work off the other actor and be supported.

Dance has always been a really important thing for me, so being able to physically express the characters through music and dance is like another layer to things.

As part of the process, there are a lot of different ways to evaluate players. There are a number of different companies and things out there that do different things; that have different ways of evaluating and those types of tests and so forth.

Drawing on the experience I have of now directing, to me, my one strength that I know is my ability to communicate with actors and therefore make characters really important.

You learn to exploit genre for the more important things - to my mind - like story, character, image, language.

Each guitar has its own character and personality, which can be magnified once the player engages in beatin' it up

If you cared enough about your characters, what happened to them was interesting... it's important to care about them, about who they are and what they do...I don't really care whose side they are on, and they can be monstrous on the outside or, worse, on the inside, but you still have to want to spend time with them.

It's important to know the kind of character that you need to be building up to, throughout the series.

Lampard, for me, was a marvellous servant for Chelsea, but I didn't think of him as an elite international footballer. And I am one of the few who felt Gerrard was not a top, top player.

It's very important to keep the emotions grounded, to keep the characters in some real place.

You can do everything differently in a novel. Hero narrates the novel; we're in his head. You're hearing all his thought processes and you're hearing him call himself out on his bad behavior. You don't have the benefit of that narrator in a movie. What you see a character do, very often, becomes that much more important because you don't have him editorializing it for you.