Remember, a receiver can motion wherever, run wherever he wants to on the field, you can't get your hands on the guy and there is a lot of room. When you are a corner, you are playing to the boundary, which is your friend.

When you have kids, you never think of burying your own child.

The world of football has changed. 'We're going to start a freshman quarterback!' 'Oooh really?!' That was taboo. It's not a shock anymore.

'Jim Thorpe - All American' influenced me as a young kid.

The best thing you do as a coach is develop an environment where these guys can have some success. Vince Lombardi was that way. He cared about these guys not only as football players but also as men.

This is the world you live in when you're a football player, an athlete. You want someone to discipline you. You want to have consistency. You want a guy that puts you in position so that you can have success.

I believe in giving people an opportunity to do their jobs.

You gotta use a player's strength.

It wasn't the ghetto here or anything like that. But it got rough. I'll put it this way. I always knew where I lived. I always knew I was in Seaside. That wasn't plush. I wasn't in Monterey. I wasn't in Carmel. I was in Seaside. I knew what that meant.

My father gave me discipline.

The job of the offense is not to score points. The job of the defense is not to stop the other team from scoring points.

That's the great thing about sports: You play to win, and I don't care if you don't have any wins. You go play to win. When you start telling me it doesn't matter, then retire. Get out. 'Cause it matters.

When you talk about domestic violence, it's not just athletes that are involved in it. Our society has really done a poor job of addressing it. And it needs to come to the forefront.

Oh, I still get a little anxiety when I'm doing NFL live for ESPN.

As you get older, the quality of life is more important.

The one thing I've tried to do is be insightful.

The thing about wisdom is you store the past in your head.

I've worn a lot of hats in the NFL.

I want to spend more time with my two daughters.

Being a part of the NFL for 30 years was a blessing.

I'm big on integrity.

When you lose a good player, it's like losing a quarterback.

When it gets going bad and it gets going to where all these things are happening around you, the thing that stands out most is your character. You have to make sure you keep your character and your wits about you, because at the end of the day, it might be bad for a little while, but if you're a good coach it all works out.

Believe in what you do and keep working hard and you can't take what people say personally, because if you do it'll eat at you.

People are going to take shots at you for everything you did bad, and they forget about all the good things you did. They do it to everyone. They're going to do it to me, they've done it to all of them. They did it to Tom Landry. Are you kidding me? Tom Landry? With the fedora? Come on. They did it to Tom Landry.

And when you're a coach your main concern is the players and the coaches. The last concern you have is really about yourself.

I was a guy that worked out early in the morning.

Training camp gets long when you compete against your own guys.

You never know what you're going to learn from which pieces and which composers and colleagues are going to influence that thing you think you know.

Of course everyone has those moments of frustration now and then, when you say, 'I wish I could play well already - or just stop.' But it's too much trouble to stop just for a moment of frustration. It is when you keep going that you make the most progress.

I wound up sticking with violin because it was the strongest current in my life.

I like to take walks and getting out and seeing things. These experiences are so irreplaceable and give you a whole different perspective on the greater context that you're in. If I didn't try to take advantage of that, I'd be missing out on a lot of really interesting things.

I love performing. The sounds coming at me are dynamic, colorful and multi-layered. The energy from the musicians around me and from the audience is a swirl of excitement. Sometimes, I can feel the stage vibrating under my feet.

Bach in general was so good with the violin. He just finds the genius way around his music on the instrument.

If you think about it - if you watch a gymnast compete, you don't see their training behind the scenes. You just see the competition. You see the final result when it's polished. And that is very much what people experience with concerts. They go to the concert. And they see the final version.

I never felt like a prodigy. For one thing, the root of the word is rather monstrous, literally. I never really felt like a monster or anything abnormal, because I always had a lot of different interests. But kids tend to focus on one thing, and for me it was violin.

Kids would come up to me after concerts and give me drawings they've made of violins or, you know, landscapes with a violin floating in it or some sketch of a concert or a portrait of me.

It struck me that it would be fun to just play stuff with Hauschka. Not even have a project in mind, but just get together and make up some music and see what came out.

It's no good to do a piece once and then move on because it doesn't have time to develop. I try to play seven or eight concerti in a season, and generally one or two of those are new for me.

As a young performer, what you need to be doing is building your technique and musicality, not promoting your abilities - unless you're ready to take on all that will result from such an approach.

There's so many different ways to play Mozart.

You don't have any days to spare if you want to improve!

Edgar Meyer's violin concerto was the first piece of contemporary music I worked on in any depth. I was 18 or 19.

There's this feeling of creativity in Iceland.

As more people get into indie bands and alternative music, they're also getting more into other genres that fit those categories, like jazz and classical. It's becoming more rebellious to go to a classical concert. You're getting the younger art house crowd and regular students as well as those who are just curious.

I've always heard the same doomsday concerns and yet, every day, there are people going to a classical concert for the first time - whether it's on a date or being dragged there by their grandmother.

You don't need to be a performer in order to dive into the sensory experience of music. Simply get as close as you can to the source of the music.

I don't really compare myself to anybody. That would be very unhealthy.

Through the Internet and technology, anyone can now seek out any artist, composer or undefined niche of music they find interesting. All on their own, without even having to stand up or go anywhere.

What I do is creative. It doesn't seem like that when I'm playing a piece that was written in the past, but the score is just the outline and everything in it is relative. The key is to make this piece written by someone else belong to you and then connect to the audience.