Brian Boitano Quotes

I know roughly when I skate a good program where the score should end up.

Yu Na Kim, Mao Asada, Carolina Kostner - all these girls can do triple-triples in their sleep, and they have the skating skills and the spins and the rest of the technical jumps. So I have to have that as well if I want to be able to call myself 'competitive' against them. And when I say 'competitive,' I mean I want to win.

Always looked up to Brian and his skating, I loved his skating and what he had done for the sport. And the triple axel, that was the thing, and I wanted a triple axel.

The more technique you have, the less you have to worry about it. The more technique there is, the less there is.

Figure skating is a mixture of art and sport.

I wasn't the greatest technician when I played.

I love the classic side of skating, making it look like a full program and not just technical based.

I know that I make technical mistakes from time to time. It's one of the aspects of my game that I've been working on for years. I think I've managed to reduce the number of those technical mistakes to a minimum, but occasionally, they happen. On the other hand, I do have moments of technical brilliance.

I've always believed that you have to have the skills before you destroy the skills. If you want to be crude, be crude, but don't be crude because you don't know how to do it, because you're not perfect at drawing and pattern-cutting.

So-Youn has good qualities in both jump and power, triple combination is her biggest strength and she also has great artistic value in her skating.

The technician should never forget that he is an artist, the artist never that he is a technician

I am a very technical guy. I'm proud of my technique, my fluidity, and my skill; that's what I work on every day. I try to out-technique guys.

Just because you have developed the craft on your instrument doesn't mean that you don't have the ability to be expressive emotionally on that instrument, or vice versa.

My proficiency with ballet was on a steep decline the more I skated.

Once I really understood what skating was and what the Olympic really entailed, I knew that's what I wanted to do: I wanted to be there; I wanted to represent the U.S.

I aim to skate as clean as possible.

When art is about craftsmanship, then guys like me don't make it as artists.

Daisuke Takahashi has really good footwork.

Reading music is good for training, getting things done in a hurry. It doesn't teach you nothing about feeling.

Figure skating, especially the longer performances, are such a feat. It requires so much stamina and is so beautiful.

We work so hard on our craft, and once we get out of Duke Ellington, there are not going to be people looking for technique. I worry about that a lot.

The right notes mean more than 1,000 mph arpeggios.

Once I landed the triple Salchow, I put it in the program. First landed triple toe, straight into the program. That's what I did with my quad suite.

The challenge is to balance the technical elements and what is required of us with being artists and telling a story.

I acquired quite a lot of technical skill and got quite a long way with my painting, but I never felt I was doing what New Zealand was about with my paint.