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John Cassavetes wrote A Woman Under the Influence as a play. He said, "Hey, I wrote you a play." And I said, "Great, let's read it." I read it and I said, "John, I couldn't do this every night and twice on Wednesday and Saturday".
There are characters in movies who I call 'film characters.' They don't exist in real life. They exist to play out a scenario. They can be in fantastic films, but they are not real characters; what happens to them is not lifelike.
I quickly discovered that trying to go play golf while living in Manhattan was about as easy as trying to grab a taxi while standing out in front of Saks Fifth Avenue in the freezing rain on the last shopping day before Christmas.
I've been doing it since I was prepubescent when I loved to scratch records and play good music. As it happens, you know I sort of fell into the mix. I really feel like I played a role in bringing dance music to America years ago.
'Now I've tasted chocolate I'm not going back'. That's a great line. That's not me, that's all the writing. I mean it's like it doesn't matter who plays it, it's a great role. It's such a funny, tongue in cheek kind of great role.
There is always some universal proportion, but along with that there are some places where special things happen. Ireland, for example. I've always felt it's interesting to play there. Maybe they just drink more than anybody else.
Even though Sachin is great, I have always found Rahul more solid and hard to get out. He has a solid defense and plays less shots than others. When a batsman plays less shots then it is tough to get him as he makes less mistakes.
You know, watching Dan Marino and Steve Young get nominated to the Hall of Fame... those guys are unbelievable and they did it for so long. I'd love to play like those guys, but there's still a long way to go and a lot of growing.
To be in flow means to be totally absorbed in whatever one is doing at the moment. It occurs when one is fully present and completely focused on the task at hand...Flow can occur during any human activity, whether work or at play.
My mom would give me a piece to play, but I wouldn't do any theory because when it came time to do it I would sneak back upstairs and watch TV. So, I had these kind of nonchalant lessons for years, then it just started soaking in.
I could never just play in a pub in front of four people because I would have had all the press turn up. That way, you don't get to build up naturally. It makes the work feel unnatural, and puts a lot of unnatural pressure on you.
I worked at an ice cream parlor called Chadwicks. We wore old-timey outfits and had to bang a drum, play a kazoo, and sing 'Happy Birthday' to people while giving them free birthday sundaes. Lots of ice cream scooping and $1 tips.
All four winds together can't bring the world to me Shadows cast a play of light, so much I want to see Chase the sun around the world, I want to look at life-In the Available Light. I'll go with the wind, I'll stand in the light.
She and my uncle were very sociable and would have a lot of people over at night to play cards or whatever. The high spot of those evenings was when we kids got dressed up to do a skit or something to amuse the guests. I loved it.
It's nowhere near as intense as what I imagine an actor experiences backstage, but I feel a fluttering nervousness before a curtain goes up on a play. I mean, any play, anywhere - on Broadway or the Bowery or in a church basement.
The brain internally simulates what will happen if you were to perform some action under specific conditions. Internal models not only play a role in motor acts (such as catching or dodging) but also underlie conscious perception.
To some degree, yeah, because I have to play a certain number of originals that might be considered avant-garde material. I realize though, that only a few people in the audience actually know what that music is, or understand it.
The reason I play so many sounds, maybe it sounds angry, is because I'm trying so many things at one time, you see? I haven't sorted them out. I have a whole bag of things that I'm trying to work through and get the one essential.
How much further beyond basic research the role of the government should be, you could have a really good debate about it. Almost nobody would say it's zero. But that's where at least we need the private sector to play a big role.
But I think there's a genuine joy, too, a sense that no matter what, even if my stomach's growling, I'm going to dance. That's what I want to leave people with at the end of the play. After all this, people still know how to live.
If I can play a scene in a master shot, I always prefer it. And the actors always prefer it. It's fun to look at on the screen, the actors get a chance to sink their teeth into something substantial, and it's economically helpful.
I think that the American people should rest assured and be assured that every federal agency that has a role to play in this terrorism is working overtime now. They are taking every necessary action to protect our great citizens.
It's not how you start the season, it's how you finish. If you wind up helping the team make the playoffs, that's what you play for. You don't play to put up your numbers, but to try to get a chance to make it to the World Series.
My heart gets very tender when it comes to playing someone who has wronged someone else. I almost feel like it's easier for me to play having been wronged than it is to actually feel like you had an active part in hurting someone.
I have a company in New York City producing music for commercials, for radio, TV, features, etc. That's how I've been making my living. And now the company is very successful - to the extent that I can afford to come out and play.
If you are still in school, do not neglect your grades. Internships and other activities are fine, but when legal employers have to decide who to interview, grades play a big role in determining who makes that cut and who doesn't.
Life in the theatre isn't necessarily when you get money from performing. It isn't when you sign a contract. It isn't even when you are in a play. It's when you understand it. If you understand it, you'll know why you want to act.
Talk with your daughters, Play with your sons. You need to be a better friend to them than anyone else. This society offers lots of evil friends. Before they make those kinds of friends, they need to find their best friend in you.
Media were never allowed into an Australian dressing room until I became skipper. I changed that and invited them in at the close of play each day, thereby confirming for many administrators they had appointed a madman as captain.
I suppose, the natural outgrowth about writing about two friends, it becomes about their friendship, and the complexities of it, and the way personality plays off each other, and what they each like to do, separately and together.
You can't say you're going to ban something in the name of good taste, because then you have directed someone to play the role of good-taste police. We - Americans - permit bad taste in this country. In fact, we even encourage it.
When people come to my shows they know there is a distinct beginning and end. It's difficult for me to play for much more than an hour, so people kind of come out and treat it like a rock show. They're fiending and ready to dance.
When the number of factors coming into play in a phenomenological complex is too large scientific method in most cases fails. One need only think of the weather, in which case the prediction even for a few days ahead is impossible.
Scottish golf is a more public game. It is more reasonably priced and they play faster. It isn't cart golf. The only reason resorts force you into carts is for the money. They are selling off the soul of the game for a few dollars.
Film gives me live actors, editing, music, sound, a huge and powerful toolbox to play with. If there is a problem for me, it is that film gives me too much. There is less room for the audience to add their side of the conversation.
The books are always there, just the way you wrote them. The plays often don`t turn out the way you wanted them to because in the theater, you`re always involved with collaborators and they don`t always see the work the way you do.
There's no point in making films unless you intend to show us something special, otherwise just go out and watch a play. Kubrick showed us something special. Every film was a challenge, and a direct assault on cinema's conventions.
Richie Faulkner is very respectful to the songs that he plays from when [founding member] K.K. [Downing] was in the band. He plays them incredibly. And he's got his own nuances and his own techniques that he puts in - as he should.
I've never personally criticized anyone else's music, but I know that the public's real problem is not the music I make but the perception that I play simple music for money only and for the notoriety and to increase my popularity.
A baby is such a blank slate, like training the understudy for a role you're planning to leave. You truly hope your replacement will do the play justice, but in secret you want future critics to say you played the character better.
[David] Mamet is another hypocrite. His idea of Black man is a pimp who abuses women, [Edmond], yet his play Oleanna [1994] ends with a White professor slapping an uppity feminist, at least the version I saw at San Francisco's ACT.
It was just like, "What am I going to do today, in L.A., as an actor? Well, I guess I could go to Seth's [Rogen] apartment and smoke weed and hang out." And that's all we'd do. We'd smoke weed, hang out, play video games, and talk.
A great hang is mandatory. But in all of my years as a traveling musician, on a whole it's been pretty damn magical. There have been a couple duds along the way, but most time, I'm in awe of the guys who want to play on my records.
If you do it first class and you don't compromise values, and you don't compromise quality, and you don't compromise service, and you don't compromise cleanliness, then everybody else who is the competitor has got to play catch-up.
I would point to a song like 'I'm Not A Loser', which I tried to evolve as best I could over the years. But finally after years of trying to evolve it into something a little more, up to date I guess, we just don't play it anymore.
Don't play an attitude; don't play a guy who's negative. Play a guy who's not trying to sell anybody on anything, he's just saying how it is and if you want to come by what he's thinking, you're welcome. If you do not, then do not.
Performance and music are inexorably tied together. And hell, I'll watch Brittany's Toxic music video all day. But there's a difference between that and listening to Leo Kottke play guitar. One is entertainment. The other is Music.
Joy is the wild card of life; it supersedes every other formula for success. If you can find a way to create joy, you can rise beyond all external factors. If you can play at whatever you are doing, you are the master of your life.
I think the one-on-one gigs connecting with the fans - is the most important thing. That will help build your fan base. They'll talk about you, and word spreads. Those things are just as important as knowing how to play an E chord.
A play presents a self-enclosed little world for the audience to examine. It's an opportunity to look objectively at a group of people, to assess them, to react to them, and to measure oneself against them, to ask 'Am I like that?'