Manager Quotes - Page 18

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Even if people that I was in love with - even if Bobby Fulton inherited a billion dollars and opened All Elite Wrestling, I was never going to be the manager of The Revival on a weekly television basis ever because that would require me being on the road on a weekly basis.

I had a really successful 2013, '14, '15. Touring, just doing my thing. Super - I mean, can't complain about nothing. And my road manager got killed. And it ruined everything. Now, I tell people - I don't know if this is a word. But I tell people that that re-sensitized me.

I'm a musician with a very unique mental state, I suppose. I'm agoraphobic. I'm scared to leave my house. I haven't been alone in, like, two years. I'm either with my boyfriend or my assistant, my manager or my tour manager. I won't go anywhere by myself; I'm too terrified.

How I found out is, I landed in Des Moines from a plane ride back from the Rob Zombie tour. I was, like, 'Okay, cool, I'm home. I can finally get some rest.' Once I landed, I turned my phone on, and my manager rang, and I'm, like, 'Oh, what?' He said, 'Paul Gray just died.'

I'd been sending out demos and CDs for years. I knew my stuff was good enough, but I was getting nowhere. Then, three people - my future manager and two publishers - happened to send one of my tracks to EMI publishing in the same week. All of a sudden, they were interested!

At Brondby, we had Daniel Agger, who came up from the youth. He had two years in the team, and then we sold him to Liverpool for nearly £7 million, which is a lot of money in Denmark. As a manager, that gives you even greater satisfaction that winning something as a player.

My job is to hire the best and brightest employees and empower them to do their best work. As a manager, I am not a mind reader nor an expert at every job function. Therefore, it is incumbent on all hires to feel empowered to tell me what resources they need to do their job.

We were in Philadelphia when Manager Pat shifted me from third to short, and right off the bat, I knew I had found my dish. Footwork was more a part of the new position than it had been at third. I suddenly felt I had sprouted wings. A world of new possibilities opened for me.

If I want to do an orchestral record, if I want to do an acoustic record, if I want to do a death-metal record, if I want to do a jazz record - I can move in whichever direction I want, and no one is going to get upset about that. Except maybe my manager and my record company.

The prevailing - and foolish - attitude is that a good manager can be a good manager anywhere, with no special knowledge of the production process he's managing. A man with a financial background may know nothing about manufacturing shoes or cars, but he's put in charge anyway.

I have no problems with my eyes. It was because when I became big, I suddenly I found myself playing on stage with 200,000 people, and that is scary. I remember my manager told me just put on a pair of sunglasses, and that should mitigate the panic. So I tried it, and it worked.

When I became the manager of the New York Yankees, it was an opportunity to realize my lifelong dream of winning the World Series. We were fortunate enough to succeed in our first season in 1996, and in the years that followed, we wrote some great new chapters in Yankee history.

My favorite comic book growing up was 'Thor.' It was one of my three, favorite comic books. Obviously, Marvel is such a huge name, but for me, to book a role in a Marvel movie, and for it to be 'Thor.' When my manager told me I booked 'Thor,' I literally didn't know what to say.

In the periods of my career when I stopped passing the ball forward or when I stopped looking for the risky pass that might open up a defence, the consequences were the same. The manager stopped picking me. I got back into the team when I went back to doing it the way he wanted.

As a manager, everyone is clambering for you to do something. It comes from the media, the fans, the board and even your own staff sometimes. The strongest thing can be to do nothing and remind the players of the simplicity of the format. The players have taken ownership of that.

I moved to New York on October 21, 2004, and it was the day that the Chelsea Grill, a restaurant in Hell's Kitchen on 9th Avenue between 46th and 47th Street, opened. I had never waited a table in my life, but I walked in and lied to the manager in a very J. Pierrepont Finch way.

My main regret about my years in football was keeping my mouth shut like a little mouse, not daring to speak out because I was told you left the managers to get on with the job and that the chairman must never interfere with the manager's decisions or the performance of his team.

I wrote 'She's a Lady' on the back of a TWA menu, flying back from London after doing Tom Jones's TV show. Jones's manager wanted me to write him a song. If I have an idea and I don't have a pad of paper, I'll write on whatever is available. What's the difference? Paper is paper.

Unbeknown to me, my manager, under my very nose (in a crouching position) has all these years been secretly compiling a book from my correspondence. I often wondered what she was doing in my office. She never did a stroke of work for me. All the time, I have been working for her.

Baseball calls it a curve ball for a reason: you just don't know where some pitches will land. Your ace could get injured. Your golden glover could err. Your team could sit through a rain delay. Your manager could get ejected. Your bench must be broad and deep enough to overcome.

My first manager, Suzanne DeWalt, saw a play I was in. She was invited by the director Joan Scheckel, who was my first real acting teacher. Joan was also good friends with my friend Susie Landau Finch, who had first encouraged me to consider acting, so that's how I began studying.

I don't have interns. I don't have a manager. I don't have assistants. I don't have a secretary. I can't figure out Outlook Express. I'm the worst person in the world answering e-mails, and my phone is probably the oldest, most battered phone you can find. So I just talk to people.

Many of the factors that we think will cause motivation, such as fair pay and a good manager, won't make you love your job. Even if you eliminate what makes you dissatisfied, that doesn't make you motivated. It doesn't make your work rewarding. You just are less bothered by things.

In the summer of 1954, after several years in Austin, Minnesota, our family moved across the state to the small, rural town of Worthington, where my dad became regional manager for a life insurance company. To me, at age 7, Worthington seemed a perfectly splendid spot on the earth.

My dad was the manager at the 45,000-acre ranch, but he owned his own 1,200-acre ranch, and I owned four cattle that he gave to me when I graduated from grammar school, from the eighth grade. And those cows multiplied, and he kept track of them for years for me. And that was my herd.

Certainly, R.E.M. grew out of the Wuxtry record store in Athens, where Peter Buck was working and Michael Stipe came in to visit. And even their later manager, Bertis Downs, they all met and congregated at that record store. So I'm sure we wouldn't see those without the record store.

It definitely is an ice breaker going into the awards already having one, and it was just so crazy when I heard I did win because I was in London at the time, and we were doing a festival out there, and my manager was like, 'You just won an ACM.' And I was like, 'How? It's so early!'

The fame of Maria Foote's beauty and charm of manner had reached London, and in May 1814, she made her first appearance at Covent Garden Theatre and personated Amanthis in 'The Child of Nature' with such grace and effect that the manager complimented her with an immediate engagement.

I'm probably not going to be popular with the fighters with this one, but my biggest problem is guys playing it safe. I understand it from a coach's standpoint and a manager's standpoint. I understand why you'd want to play it safe and want to win the fight, win every fight. I get it.

Living together places a huge burden on the other person to be lover, friend, entertainments manager, chef, domestic help, which is almost impossible and can lead to disappointment. If you don't live together, you spend more time with other people and ease the pressure off your lover.

The people who I grew up making music with, we've all grown up and become successful in different ways. My manager supported me since I was 16 and believed in me as a musician. He's been there since Day 1, and there's so much to be said about doing something with people that you love.

Society has changed so dramatically that it's empowered the individual, and technology has a lot to do with that. Years ago, if you had a bad experience at a restaurant, you could complain to the manager. Maybe you could picket. Now, you go online and write a review that may go viral.

There might be more meetings and situations where you're required to represent the country in some way that wouldn't necessarily happen to you if you're a club manager, but other than that, I haven't found any differences in my approach between running a club side and a national team.

Everybody - even huge movie stars - have downs. That's just how it is. The work ebbs and flows. My manager and I were saying, 'Let's remember that in 2013 we were soooo busy.' So whenever it is that we're not, maybe it'll come back again. Maybe it won't. But you've gotta love the ride.

I think, when you reach the top level, it is less about the money itself; it is important only because the level of earning shows the importance of the player or the manager. I don't think people want to have the money just to spend it. It is a reflection of your importance in football.

I think what's important in a good manager and a good agent is that they know your vision and that they are passionate about you and believe in you. Because if they don't, then they're not going to work hard for you, and they're going to send you out on things that you don't want to do.

A subset of CEOs is that of entrepreneurs. And the classical definition of an entrepreneur is an individual who pursues opportunity without regard to the resources currently controlled. That sounds like a very different person than one might expect an analytical investment manager to be.

My general sensibility is most certainly comedic. But when I signed with my manager, he said, 'I think you could do dramatic stuff as well.' So, rather than making the choice to do it, I sort of agreed and deferred. By no means does it feel close to home, but I was willing to explore it.

I did improv classes just like any kid would do soccer or gymnastics or swimming. At one of my showcases, my manager came to my mom and said, 'We would like to represent your daughter.' My mom asked me that night if I would like to actually act, and I said, 'Why not? I'll give it a try!'

It wasn't purely Alex Ferguson's experience that made him a good manager, because he did it when he was inexperienced. But if you've got the qualities needed, and then you add experience to it, someone who's been through it, well, that has to be advantageous. There's no doubt about that.

And I always was getting fired and quitting jobs, so I was not going to ruin Public Storage, and I was excited about Public Storage because I knew eventually I could be one of those property manager people that had their own apartment on site. So I had these big dreams for Public Storage.

I think any manager who tells you, 'I am very good at keeping my equilibrium. I'm always calm and reasoned, and results don't affect me particularly. I can take the good with the bad, and I can put the wins and the losses in perspective,' you will find a special person. I've never met one.

Lesley Manville comes at 'funny' from a totally different direction in 'Phantom Thread,' using snootiness and froideur. The effect of her performance - as the difficult manager of her difficult brother's couture dress business - stems in part from the chill she puts into her line readings.

I had the option of building a career in the U.S. Many of my friends who went at the time did not come back, but for me, building the family business and being with family was worth it. I became a general manager within four months, as I used my education to improve productivity and output.

Have I done more business-related things to help my career grow? Yeah. I took the business end more seriously, hooked up with a manager, got some help, because at a certain point, you get frustrated when you go do auditions, and people say you did a great job, and then you don't get he part.

There are people who are better managers than I am. I aspire to be a really good manager, but it's not my natural personality to do the same thing for 14 hours a day. I have a lot of different interests. I really like product and strategy and business strategy, and I think I'm not bad at it.

Hire people who are smarter than you, and don't be afraid to work with them as partners. Make it clear that you plan to learn from them, not just the other way around. The right, smart, motivated people respond very well to that approach, particularly coming from a younger manager like I am.

I did a business in a box called College Pro Painters. They taught you how to paint houses, how to hire and fire, how to sell, how to deal with customers. You got a one-year franchise. It was the hardest year of my life in terms of hard work. I won manager of the year. It was very successful.

I moved here in 1997. It's 20 years later, and I finally feel like I'm in this business. I feel like I could call my manager if I wanted to set up a meeting to pitch something and actually get it done, based on my history and the work I've done. I can't say that I felt that way five years ago.

My father had to flee from what is today Pakistan when he was a child, and he became a manager at IBM, and any item of consumption he would acquire was a direct measurement of his success in life. But that same equation wasn't going to work for me - I was quite clear about that in my early teens.

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