Clint Dempsey Quotes

My style of play has always been the same. I never tried to develop a specific style. From very young I just played this way.

I was not influenced by Jack Benny, and people have remarked on my timing and Jack's timing, but I don't think you can teach timing. It's something you hear in your head.

My style of playing is more enthusiasm and instinct than skill.

I know I play with a lot of passion, but from the outside looking in, people say, 'He's passive. Doesn't play hard.' And others say, 'It just comes easy to him. He's smooth.' That's just how I play. Always been the same person.

I'm not a guitarist as far as a technician goes, I just pick it up and play it. Technique doesn't come into it.

Everybody who knows me knows how I get down.

We have tried to get closer to them, but we never copied anybody, we always tried to play our football

When I was small I didn't really know what i was doing. I just sang and it came out sounding pretty good. I just do it and it happens.

But I don't want to be compared to anyone like to impose my own style of play and do the best for myself and for the club here.

I think I'm open to adventures and surprises. As a performer, I'm really just naturally talented. And those roles may not look as good on paper, but I know how to create them on screen. I like to have fun and interpret my roles in my own way.

If you can play, you can play anything. I don't like classifications.

Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing. I believe in using the entire piano as a single instrument capable of expressing every possible musical idea. I have no one style. I play as I feel.

I don't believe in fashion dictatorship, and I find that anybody who follows the dictates of fashion is a bit lost. I'm excited by style, not so much by fashion.

Fashion just comes naturally to me.

I think that's, it's my way of writing, it's my, it's part of you know for lack of a better word, God-given talent that I have that I'm really good at that kind of dialogue.

All of these declarations of what writing ought to be, which I had myself-though, thank God I had never committed them to paper-I think are nonsense. You write what you write, and then either it holds up or it doesn't hold up. There are no rules or particular sensibilities. I don't believe in that at all anymore.

You can't teach it [jazz singing]. There's nobody who can teach you how to sing jazz. Either you know how to sing jazz, or you don't.

Just because I'm playing jazz I don't forget about me. I play or write me, the way I feel, through jazz, or whatever.

You have to be able to feel like you can play way outside of the box. If you're with a great filmmaker and someone you can trust, that's encouraged, and Seth was that kind of filmmaker and co-star.

Louis [C.K.] is great. But I don't know how many you could do.

Sometimes it depends on the actor or the actress. Sometimes they demand a lot of rehearsals. Sometimes they don't. Making movies is not like making a play, so I guess you can leave some of the work for improvisation when they do the work.

I know some artists who come out of country music and the three sessions a day work ethic where you walk in, and you're told you play this note, this note, and this note, and you don't vary it. I know that works great for some people. It wouldn't work for me.

If you're gonna tell a story from beginning to end, I always think you have to have a great structure in a script. If it gets you excited and it's something you've never read before that's another plus. I think also with improv and that whole world of stand-up, that's a whole other organism of comedy that still needs a story, but it's more free-form. On the set, it is the combination of both those worlds coming together: a great script and an allowance to play with it.

Jazz is about the only form of art existing today in which there is freedom of the individual without the loss of group contact.

I like to let each thing happen - direct it a little consciously, maybe - but just kind of follow the vibrations I get in each particular circumstance. We don't plan theatrics. We hardly ever know which set we'll play.