When you lose a game, you are annoyed.

At the top level you know most things about the best clubs, there aren't too many surprises.

Good physical conditioning is essential for success.

It's important to have players like Schweinsteiger and Khedira, the connectors, the symmetry-makers in the game. They can take the tempo out of the game or pick it up.

The important thing is that the players do what the coach tells them on the pitch, both at their club and with the national teams. And that's the case with Mats Hummels.

If you become world champions, there is nothing to top that. It's the result of many years of work, good decisions inside the association, good training and good players.

I know how to deal with pressure.

You always want to see the best players in action at a World Cup, and the players always want to measure themselves up to the very best.

Sometimes I just have to follow my intuition.

Roy Hodgson is a fantastic coach. I first knew him when I was playing in Switzerland and he was national team coach. It was under him that Switzerland revolutionised their player formation system.

Klopp would be a great addition to any team.

I am very grateful for the belief that the DFB has shown in me and I feel, generally, that despite the justified criticism towards me, I feel a lot of support and encouragement too.

I don't think it's such a bad thing to have internal debate between coach and leading players.

Sometimes it's natural to do the safe pass, the no-frills thing, to pass it back to the goalkeeper. But I want them to do the daring thing.

I don't think we should compare club teams with international teams because they are different cups of tea.

Ozil is a great distributor and does a lot of running.

You can play happy-go-lucky football against Brazil in a friendly but not in a tournament.

Midfielders must do everything.

We need to be one team on the pitch.

From my point of view, it is not the coach who becomes world champion, it is a team. Not just the players who played, but the whole squad, and also the team behind the team. Because if you want to achieve success, the whole team has to work perfectly, like a machine, and all the pieces of the puzzle need to fit together into one picture.

I think the core job of a coach is to select the right players for a tournament. You need players who are mentally and physically fit, who are able to deal with difficult moments.

A coach needs to be a psychologist, because during a tournament you're looking after a team of players which is being watched closely and put under a lot of pressure.

You shouldn't be scared of putting together a team made up of experts who are better than the coach in some aspects... So for me personally, it was important to have people in my environment who discuss things with me, who give me their opinions, but who are loyal to me and who are reliable.

Static strikers do not exist anymore.

For us, for me as national coach, the Nations League is a good invention.

Sometimes you learn the most from your defeats.

There has never been even a hint of an expression of racism in the national team.

I want to establish an error culture in friendlies. We can make mistakes, learn from them and correct them.

Italy is one of the great footballing nations, with whom we have a great sporting rivalry.

I had the idea to bring an experimental squad to the Confederations Cup in 2014.

I consider 100 wins to be better than 100 defeats.

I take sporting criticism on board very keenly and with deference, and I also try to make decisions based on it.

To sing the national anthem is wonderful, but it's far from the sign of a strong team and it is absolutely no indication of a lack of desire to fight.

Life changes fast. Life changes in the instant. You sit down to dinner and life as you know it ends.

To free us from the expectations of others, to give us back to ourselves - there lies the great, singular power of self-respect.

It kills me when people talk about California hedonism. Anybody who talks about California hedonism has never spent a Christmas in Sacramento.

I write entirely to find out what I'm thinking, what I'm looking at, what I see and what it means. What I want and what I fear.

I think we are well advised to keep on nodding terms with the people we used to be, whether we find them attractive company or not. Otherwise they turn up unannounced and surprise us, come hammering on the mind's door at 4 A.M. of a bad night and demand to know who deserted them, who betrayed them, who is going to make amends.

Writing nonfiction is more like sculpture, a matter of shaping the research into the finished thing. Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

The willingness to accept responsibility for one's own life is the source from which self-respect springs.

Grammar is a piano I play by ear. All I know about grammar is its power.

New York was no mere city. It was instead an infinitely romantic notion, the mysterious nexus of all love and money and power, the shining and perishable dream itself.

To believe in 'the greater good' is to operate, necessarily, in a certain ethical suspension.

A place belongs forever to whoever claims it hardest, remembers it most obsessively, wrenches it from itself, shapes it, renders it, loves it so radically that he remakes it in his own image.

We imagine things - that we wouldn't be able to survive, but in fact, we do survive. We have no choice, so we do it.

We forget all too soon the things we thought we could never forget.

Novels are like paintings, specifically watercolors. Every stroke you put down you have to go with. Of course you can rewrite, but the original strokes are still there in the texture of the thing.

Life changes in the instant. The ordinary instant.

You had to feel the swell change. You had to go with the change. He told me that. No eye is on the sparrow but he did tell me that.

We look for the sermon in the suicide, for the social or moral lesson in the murder of five. We interpret what we see, select the most workable of the multiple choices.