Brie Bella Quotes

To do a comedy team, it requires so much extracurricular stuff, so much compromise, so much intuitiveness to know what the other guy is doing. That's why it's so hard to do it.

Twins have a special bond. They feel safer with each other than with their peers.

When we're onstage, it's like mind reading: we're on the same page.

Chemistry is really about two people who like to act together, I think. It's like tennis in the most cliched way. It's like if you hit the ball, they hit the ball back, and they don't hit it into the stands, and they don't put the ball in their pocket and walk off - and they don't argue with the umpire, you know?

One really beautiful wrist motion, that is synchronised with your head and heart, and you have it. It looks as if it were born in a minute.

To be a great band it's like you have that telepathy. You know when the bass player's in back of you without even looking. You know when your guitar player's coming up to you to lean up to you and sing into your microphone. You just know these things. You feel it. You feel the energy of it.

Great teams, you see players working off of wavelengths. Telepathic, not even actual physical things.

When one twin is in need or hurt, the other twin definitely knows it. It really helps us being a successful tag team.

The quarterback-receiver connection is a constant work in progress. You're always working on your communication on the field, off the field.

It is nice to get reps and to slowly build that timing and chemistry. To be able to do that, you start to get into a rhythm.

A big part of that quarterback-receiver relationship is communication. You've got to be on the same page because if you're not, it just doesn't work. Then you're kind of guessing.

The chemistry between a quarterback and a receiver is almost like a dance.

We are literally like sisters: you know their ins and outs; you know if something is on their mind, that something's bugging them. We know when something is going wrong, and that instinct you can feel instantly.

Over the years, you get better at timing because you've been through the situations thousands of times. The ball goes over your head; he passes you on the right, left. Eventually, you just know what you have to do.

When you're dealing with a bunch of different producers, you gotta make sure the chemistry fits.

Like hitting a baseball, comedy is very much about timing. To some degree, you either 'got it or you don't.'

The thing that you don't understand about college basketball until you're one or two seasons in - and something I've struggled with - is that you have to be 100 percent connected to your other four guys on the court at all times.

When I was a kid, we played a jump rope game called double Dutch - where you had to jump over two ropes swinging in opposite directions. Picking just the right moment to jump in was a practiced art form.

You know yourself; you gotta know your seasons. There be certain seasons, it's telepathy.

All the time, I play with a rhythm; if I'm too far out of the rhythm, I feel out of place.

Me and Clams have always kept it organic with the way we work. It's just always the right time. It's never no pressure. He always comes through if I need him. I always come through if he needs me, and we always meet at that right time.

You can't just get in a boat with someone and be great straight away. It takes a lot of time to get used to each other. You need to learn how the other person reacts to certain situations.

We tend to just think about how hard it is to never have thrown to a guy. That is true, every guy has their own way of doing things and you build a rapport with guys throughout the course of the year and throughout practice and all of that.

I think it's just a chemistry thing, feeling each other out. The more you play with each other, the better it's going to be.

Definitely an important aspect of my playing is keeping my hands in sync.