Intense Practice Quotes

I really tried to play more intensely in practice and not play like maybe two, three hours just like that. I just go to court and spend a lot of hours as well on gym, or just make a lot of sprints and movement.

When you're really serious about ballet, it's a job - even if you're 15 years old. You're doing it six to eight hours a day.

And yeah, my handicap was down to a 10 when we were at the thick of it. I trained for six or seven months, golfing every day for six hours, seven days a week, with eight trainers. It was intense.

So I started to relax and would work on my act eight hours a day, sitting at a desk writing at my grandmother's house, and I would put on Richard Pryor Live on Long Beach and would play it like a loop and think and write.

When I played for Boston Breakers in my early twenties, I really stepped up my training, which meant running drills until you're sick.

My advice for young people is that, if you want to be a musician, the thing to do is practice eight hours a day.

Teammates tell me to bring it down a notch in practice or that their hands are hurting. Randy Moss told me I was the first person to ever dislocate one of his fingers.

Classical ballet is very extreme. You're doing it six days a week, and it's a kind of obsession of perfecting a move. So every muscle in your body has been stretched and tightened, stretched and tightened.

I warm up a lot harder for a Clipping show than I ever did for 'Hamilton.'

I started taking voice when I was six and dance classes every day - I just couldn't get enough.

It's hard to explain but I have a need to play intensely every day, to fight every match hard. And this desire never to stop fighting is something else I learnt in the place where I grew up.

I demand perfection in what I do, and I practice very hard before I give a concert-sometimes three to six hours a day.

When players go out and train on their own, they usually do it at half speed. This kind of training is valuable, but it doesn't prepare you for competition, where you must perform at full throttle. So the trick is to schedule regular sessions of intense practice, while always leaving time to juggle and generally goof around with the ball

Professional players work almost every day, for hours on end, and the emphasis is on the word 'work.' It can be with a partner or it can be alone, but professional chess is always a pursuit of something new and surprising.

In college, practice is draggin'. Coach goes, 'Oh, hey, go on over there and start a fight with one of the linebackers.' Okay. So I'll go and start a fight with one of the linebackers... It's just an attitude that really developed in me, and now we just amplify it times 100 and make sure everybody understands what I do and what I'm about.

I was deep in the zone of practicing almost constantly.

You need one hundred percent commitment; you have to be willing to wake up every morning knowing you're going to [practice] eight hours straight.

Training is very tough. I probably hurt and get out of breath more in training because in matches, you can hit an ace, then have 25 seconds off. In training, you're doing drills constantly.

I played acoustic guitar so intensely, for so long - for nine hours a day as a 10-year-old, writing songs through the night, on tour constantly from when I was 19 - that I destroyed my arms and shoulders in the process.

I think that when young players really see their game rise next level, it's when practices are like competition and there's no separation there. Of course, there are adrenaline and the butterflies; you don't have that so much in practice. You want to fake yourself out and try to get them there because you want to be as close to that game mentality as you can when you step on that field every single day whether it's practice or in your backyard or down the street with your dad.

After hours, I would train, train, train, six or seven days a week, until 2 or 3 in the morning sometimes.

I didn't study the piano - the piano studied me.

I mean the people who seriously, seriously play devote their lives to it sort of the way monks do. I mean you don't date, you go to bed at a certain time, you eat certain ways, you practice 10-12 hours a day. And I mean, the difference between practicing three hours a day and practicing 12 hours a day is everything. And I certainly never - I never trained seriously after the age of 16.

My hands were constantly blistered or bloody; my ears were always ringing. I tore through drumheads and drumsticks like there was no tomorrow.

The 'Strictly' experience is really like no other - the training and work that goes into it is immense.