One thing that I've learned about myself is I have to trust what I see. And that maybe sounds silly, but there's things that I feel or see during a game that, you know, I used to explain it as I have an angel on one shoulder that's telling me to run the play and the devil on the other shoulder that's telling me really what I should do.

I have to trust something that gives me power; I have to believe in something, but in my career I have a lot of moments I cannot explain with God.

When you explain to people what you're trying to do, as opposed to just making demands or delegating tasks, you can build instant trust, even if it's just for that short time you're on the phone.

It takes less time to do a thing right, than it does to explain why you did it wrong.

I want to explain to everyone that during election season, a politician is always short of time. We are thankful to any politician who takes out time for an interview.

Sandy Koufax is a great teacher. He just talks about competitiveness and being aggressive - about stride length, power, how to spin the breaking ball. The way he explains pitching is simple, which is something you don't see a lot.

We must believe in luck. For how else can we explain the success of those we don't like?

I believe in luck: how else can you explain the success of those you dislike?

Rockefeller once explained the secret of success. 'Get up early, work late - and strike oil.'

Success in almost any field depends more on energy and drive than it does on intelligence. This explains why we have so many stupid leaders.

On set is where I feel comfortable. The red carpet stuff, talking about the film, explaining your own life, it doesn't come naturally. It's all necessary stuff I suppose but it's not my strength.

I've discovered that half the people would love to go into space and there's no need to explain it to them. The other half can't understand and I couldn't explain it to them. If someone doesn't know why, I can't explain it.

When asked to explain this space, I often ask people to forget pretty much everything you've heard about blockchains, crypto-currencies, and bitcoin, and instead dumb it down a lot and think about something no more complex or intimidating than good old-fashioned database technology.

Bob Dylan has always sealed his decisions with the unexplainable. His motives for withholding the release of the magnificent 'Basement Tapes' will be as forever obscure as Brian Wilson's reasons for the destruction of the tapes for 'Smile.'

I don't mind a little Sturm und Drang. When I was doing 'Riding in Cars With Boys,' I wouldn't smile at anybody, because my character, Bev, was angry at the world. I'm the opposite. Inside my head I'd be like, God, I'll explain to you at the end of shooting that I'm not this person.

Though many have tried, no one has ever yet explained away the decisive fact that science, which can do so much, cannot decide what it ought to do.

No one would want to read a book in which I explain the science of cloning because it would be very dull and it would also make no sense.

Science will explain how but not why. It talks about what is, not what ought to be. Science is descriptive, not prescriptive; it can tell us about causes but it cannot tell us about purposes. Indeed, science disavows purposes.

Science has explained nothing; the more we know the more fantastic the world becomes and the profounder the surrounding darkness.

I don't want to give advice to people about their religious beliefs, but I do think that it's not smart to bet against the power of science to figure out the natural world. It used to be, a thousand years ago, that if you wanted to explain why the moon moved through the sky, you needed to invoke God.

I think there are certain tenets set in place for all different types on genres. For thrillers, women usually die first. I can't say exactly why, and it's kind of a bummer... But I also can't explain why the wallflower girl in the romantic comedy always gets the guy in the end. That's just the way those movies go.

I was very influenced by the musicals and romantic comedies of the 1930s. I admired Gene Harlow and such, which probably explains why, since the end of my marriage, I've dated nothing but a succession of blondes.

Religion works. I know there's comfort there, a crash pad. It's something to explain the world and tell you there is something bigger than you, and it is going to be alright in the end. It works because it's comforting.

The relationship between the public and the artist is complex and difficult to explain. There is a fine line between using this critical energy creatively and pandering to it.