Steve Rushin Quotes

You don't realize how easy this game is until you get up in that broadcasting booth.

I've been lucky to broadcast some great events and to broadcast the exploits of some great players.

I never in my wildest imagination dreamed that I would somehow become a sports commentator.

I also used these realistic sounds in a psychological way. With The Good, the Bad and the Ugly, I used animal sounds - as you say, the coyote sound - so the sound of the animal became the main theme of the movie.

Radio is the art form of sports casting. If you're any good, you can do a great job on radio.

When you look at the early-'30s movies, like King Kong, the codes of acting are very similar to those of silent movies. In some of the silent movies - the good ones, the ones done by the best directors - the acting is very, very natural.

Chick Hearn was my favorite broadcaster ever - he's the one who taught me to think basketball, how to love basketball.

If the audience, in minute 50, is thinking about the way a movie is shot, there's a problem. I want it to permeate emotionally.

I wanted to be Red Barber, Mel Allen or Howard Cosell. I loved their personalities and all of their sounds.

Sports commentating is the answer for a restless brain like mine. I can never get bored because there is an infinite amount to know.

Sports movies are a genre that I really respond to, but they can be done really poorly and really fall short. The good ones are just so good and inspiring and make you feel good.

One of the best ones out there was a guy named Howard Cosell. He was the best.

I want to be the Howard Cosell of MMA.

I get this call and they go, you know, 'Do you want to do the finals?' and I go, 'Yeah, I guess, I've never, never done the finals.' Especially for somebody who's done as many thousands of games as I have, it kind of takes you one step further.

The best moments in comics come from a primal image that captures the emotion and the conflict. What you add are the pieces that get you to the point and what happens next.

Mike Goldberg and Mauro Ranallo are two of the best in our business, and I couldn't be happier about them joining the Bellator family.

I have done a lot of NFL games, a season-opening home games, playoff games, championship games, and of course Stanley Cup games, World Series, NBA championship games. But I have never done a Superbowl. It's probably the only major sporting event I've never done and I would like to.

One of my main goals is to become a sports broadcaster. That is the ultimate for me.

Even talking about serious issues - it's hard to fit in anything around calling a baseball game.

My dad talked a good game. [I'm as a] child got only the World Series on the radio.

I think by its very nature, it's redundant, you know, being the play-by-play guy on television.

If Vin Scully calling a game is just as good in 2013 as he was in 1963, that's the way a game should sound. If Jack Buck were around today, I don't think anybody would ask him to change his style. My style has always been a little bit of a combination of old and new, if only because my frame of reference, personally, was different than that of Ernie Harwell or Jack Buck or Harry Caray. I was a younger guy. Just as Joe Buck's frame of reference is somewhat different from mine. But the nuts and bolts of how to call a ballgame well, I think remain the same.

The camera is really the play-by-play person.

Some things definitely work better on film than in books. Introspection is great in books but it doesn't work on film. Anything with high intensity, whether it's a love scene, a car chase, a fight scene - those things work so well on film and oftentimes they can tell a much broader part of the story.

When you put a movie together, you're continually screening it for yourself and you're screening it for other people. It's like a video game power meter. When the power bar starts going down, you've gotta look at what's going on.