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When I get onto the pitch, I block out everything around it, and I really focus on the pitch.

When people are performing in a musical, everybody is intuitively drawn to the right pitch. You don't want to be too broad that people can't relate to it, so it has to have some grounding in the real world.

The pitch is the most beautiful part of the game; it gives you emotions which bring meaning to life.

Besides merely some pleasure that we get out of the combinations of pitches together and lines, I think that there is some satisfaction that we get in the fact of having this diffuse thing organized very concretely and put onto a frame and have it actually decided.

I only know one way to pitch. I really do.

It's not just what you do on the pitch, it's what you do off the pitch.

Crystal-clear thinking is one of the things we look for - not a fancy slide pitch, but crystal-clear thinking.

I don't have perfect pitch, but I have relative pitch. I'm glad I don't have perfect pitch because perfect pitch can drive you crazy.

You can actually have a pitch button, you know, to get people on pitch.

When I'm at the plate, I'm not thinking about what I'm trying to do with the bat - I'm thinking about what the pitcher is trying to do with the ball.