Quotes of All Topics . Occasions . Authors
The notion that "this too shall pass" is comforting, both in knowing that whatever pain I'm in will change into something else and allowing myself to experience the pain, not trying to blunt it or brush it aside. It's important to feel and to be connected to your emotions, whichever way they play out.
In the second half of life, the questions become: 'Who, apart from the roles you play, are you? What does the soul ask of you? Do you have the wherewithal to shift course, to deconstruct your painfully achieved identity, risking failure, marginalization and loss of collective approval?' No small task.
A greater national focus on the criticality of educational equity is needed in order to mobilize the masses and invite everyone to be a part of the solution. Only when every person on the street realizes the role she can play in this movement, can we begin to change the conversations around education.
What I can control and all I know as of today, I am signed up for one more year...I guess things could change, but with all the uncertainty in many aspects, I don't see (his decision not to sign an extension) changing before camp gets here, and when camp gets here I'm even more certain to play it out.
There will always be people that will have assumptions about you, about my character, my personality, or that I might put on a show of being gay or something, or that I play up stereotypes or anything like that. It's always funny to me that those people are typically the people that know me the least.
Violence is so terribly fast . . . the most perverse thing about the movies is the way they portray it in slow motion, allowing it to be something sensuous . . . the viewer's lips slightly wet as the scene plays out. Violence is nothing like that. It is lightning fast, chaotic, and totally intangible.
When a doting person gets down on all fours and plays with a puppy's rubber mouse, for instance, it only confuses the young dog and gives him a sense of insecurity. He gets the impression that his world is unstable, and wonders whether he is expected to walk on his hind legs and learn to smoke cigars.
There are the Podesta emails we've been publishing. [John] Podesta is Hillary Clinton's primary campaign manager, so there's a thread that runs through all these emails; there are quite a lot of pay-for-play, as they call it, giving access in exchange for money to states, individuals and corporations.
I am a man and alive. For this reason I am a novelist. And, being a novelist, I consider myself superior to the saint, te scientist, the philosopher, and the poet, who are all great masters of different bits of man alive, but never get the whole hog....Only in the novel are all things given full play.
But at [soccer] tournaments you tend to see novel, unanticipated trends coming through, with everyone watching each other like hawks and immediately copying anything new. What is really important for every team is to be aware of its own capabilities and find a style which plays to one's own strengths.
That's one of the lucky things about getting the success later on. I know how I want to dress, I know what kind of house I want to live in, I just know more about myself, and that's true about the roles I want to play and what parts of myself I want to express. You're just more in touch with yourself.
Skeptics squat by the road like guardians of truth, letting no one pass who doesn't come up to scratch. They never realize that they can see only what their paradigm tells them to look for. If you judge a person only by how well he plays pool, Mozart won't pass scrutiny, but the fault is in your lens.
I don't think of my plays as steamy places where people display huge amounts of emotions. The feeling is underneath, which in my experience is where most feeling is. I don't myself spend my life shouting in rooms, and I don't really believe things in which people do spend their time in total hysteria.
[Phil wood] put on some [Igor] Stravinsky and say to follow the score, tell me to play me the opening to the Rite of Spring. Or, "I'm going to play you some 20th century obscure classical composer you don't know". Or, "Let's listen to some Charles Ives, let's sight read some Bartok violin duets", etc.
When things seem to be slowing down, there's this little trick I like to play. I'd plow this virgin who's on her period, and after I'm done I'd just run out into the living room, or the dance floor, with all that bloody goop on my junk and yell, OH MY GOD, I'VE BEEN SHOT IN THE NADS! Yeah, good times.
I would advise puppeteering for any artist. It's a way to break down pretensions. It's a sculpture that can talk. It's a painting that can talk. And it's pure play. I think every artist needs to stay in touch with the idea of playing. The artist should always be playing, always. All art is performance.
Half of my family is in Los Angeles, so my cousin was the first person to play me, like, Snoop Dogg, and I would always feel like 'Omg I shouldn't be listening to this,' and my other cousin was the first to introduce me to Aaliyah, so every time I'd go to the West Coast, I'd get those West Coast vibes.
The provision of basic material needs is not sufficient to make minority groups and indigenous peoples feel they are truly part of the greater national entity. For that they have to be confident that they too have an active role to play in shaping the destiny of the state that demands their allegiance.
I wanted to be an actor, an astrologer, an astronaut; a lot of different things were going through my mind. But I also wanted to play guitar. I mentioned to my parents that I wanted an electric guitar for Christmas. They got me one! I sat there all Christmas morning making a lot of loud horrible noise.
What most people don't understand is that UFOs are on a cosmic tourist route. That's why they're always seen in Arizona, Scotland, and New Mexico. Another thing to consider is that all three of those destinations are good places to play golf. So there's possibly some connection between aliens and golf.
I also say with backbends, you have to be cautiously bold. Not carelessly bold. You have to descend to the dictation of the spine. You cannot command from the brain to do the poses. As you play with a child, guarding the child from injuries, similarly you have to play in backbends, guarding your spine.
We must respect the rights and properties of our fellowman. And then learn to play the game of life, as well as the game of athletics, according to the rules of society. If you can take that and put it into practice in the community in which you live, then, to me you have won the greatest championship.
I would get records by Earl Scruggs... I would tune my banjo down and I'd pick out the songs note by note. Learned how to play that way. I persevered. There was a book written by Pete Seeger, who showed you some basic strumming and some basic picking... And I kind of worked out my own style of playing.
I've always felt like an outsider across the board, since day one. The challenge has been to simply not pay attention to my outsider or insider status and just do the work and play the shows and connect with the people. And not even bother to play this game of keeping score, which is what destroys you.
You know, in a business, you have to operate on the basis of voluntary investment by individuals in a cause. With government, there is no voluntary effort to invest capital. It's just taken and invested. And the same accountability is not at play. The same natural forces in the economy are not at play.
Why are we reading a Shakespeare play or 'Huckleberry Finn?' Well, because these works are great, but they also tell us something about the times in which they were created. Unfortunately, previous eras and dead authors often used language or accepted as normal sentiments that we now find unacceptable.
A lot of the musicians asked me if when I hit my high-Cs on the records I had a clarinet take the notes. Some [thought] I had invented some kind of gadget so I could play high register. They weren't satisfied until they handed me a trumpet that they had with them and had me swing it. Then they cheered.
I just do little jokes all the time and people think I'm serious. I know exactly who Gordon Ramsay is, I know exactly who Gordon Brown is... I just say jokes but they think I'm serious which I think is funny and I think I kind of play up the image sometimes because - whatever - it's just entertainment.
When people connect to my work, it makes me feel great. A lot of that stuff is really deep, and when I play something and people feel what I feel, and use it in important situations in their lives, like at weddings or funerals, that's so powerful. It means I can connect with them on an important level.
Different scenes call for different acting styles. The kinds of scenes I like most are the ones where you just bury yourself in there. So I wouldn't say that's the only way to be funny, but that's my favorite way to play stuff, to try to put myself in a situation where that kind of acting is necessary.
Trying to find this industry's tendency to celebrate the physical is a waste of time. So I'm happy to play the game. But I am also thirsty for input. I'm not a dunce whose only skill is knowing how to take a photograph, you know? And at the end of the day, I think it makes me slightly less replaceable.
If guys feed off me, that's fine. But I'm going to play my way and I don't change. One hundred percent every single play, every single day. That's just me. And hopefully guys, especially the young guys, feed off of it and hopefully they learn how to be a professional and bring their 'A' game every day.
Guess what: God created beings not to act in a morality play but to experience what is unfathomable, to elicit what can become, to descend into the darkness of creation and reveal it to him, to mourn and celebrate enigma and possibility. The universe is a whirling dervish, not a hanging judge in robes.
When I got to the end of this play, I realized I was trying to make Angel do something that had not been justified by the characters and by their story . . .. I kept trying to force it, but that doesn't work. So I had to come to terms with what it meant for me to create a character who doesn't triumph.
I love helicopters. In fact, my wife and my friends, the myth of the chopper in the sky is that Len's going to stop and look at it. I love, probably, destroying them, yes. You know, It's the big elements, the big toys, the trucks the helicopters, and things like that. You have a few tools to play with.
The Fed has a lot of power in the economy because it has a big impact on the supply and cost of credit, that is, interest rates. It also plays a key role in supervising banks and historically has seemed to take it easy on the banks when it shouldn't have, such as in the lead up to the financial crisis.
The interesting thing about the China story, getting back to the macro and micro, and as dire as I think the macro story is - due to bad credit and credit extension that makes Greece and Spain and the U.S. look like child's play - when you get to the micro of individual companies, they look even worse.
He that has not religion to govern his morality, is not a dram better than my mastiff-dog; so long as you stroke him, and please him, and do not pinch him, he will play with you as finely as may be, he is a very good moral mastiff; but if you hurt him, he will fly in your face, and tear out your throat.
The dancer, or dancers, must transform the stage for the audience as well as for themselves into an autonomous, complete, virtual realm, and all motions into a play of visible forces in unbroken, virtual time...Both space and time, as perceptible factors, disappear almost entirely in the dance illusion.
The TV schedule is fantastic. It allows you to have a life. Theater actors are so disciplined - especially if you're doing musicals, you have to be in shape physically, mentally, and have to be on your game all the time. That's exhausting. On TV, especially a sitcom, you have a lot of free time to play.
Many critics always saw and heard that my style comes from Roy Eldridge, which is true. But for many things, not only how to play the trumpet but the way to choose the notes, how to play them and how to phrase all of them, I took that from Sweets [Edison]. He really brought something new to the trumpet.
The thought of bringing a cake into a dance music show is a bizarre one. The idea of rafting on top of people is just as bizarre as well. And I think whenever something bizarre comes into play, it immediately becomes an easy target. And for those reasons, I know that I have been the target of criticism.
I no longer sought skill, flexibility, strength, endurance, muscle tone, and quick responsiveness as means of imposing my will on the instrument, but rather of keeping an open and unrestricted pathway for the creative impulse to play its music straight from the preconscious depths beneath and beyond me.
As an actor, to go and see those shows - great plays like 'Who's Afraid of Virginia Woolf?' and Clifford Odets's 'Golden Boy' - it's so exhilarating. I'd personally love to perform the role of Jerry in Edward Albee's 'The Zoo Story.' He's a transient, lost soul, and an example of humanity at its rawest.
In play, the child is always behaving beyond his age, above his usual everyday behaviour; in play he is, as it were, a head above himself. Play contains in a concentrated form, as in the focus of a magnifying glass, all developmental tendencies; it is as if the child tries to jump above his usual level.
I've played a different type of character in a different type of thing, for the most part. It's not like you can't mine tons of fascinating stuff from any character that you play, and I've always been fascinated with women and relationships, but this has been a completely different experience, for sure.
I'm happy that I feel a little less out of place in filmmaking than I once was - but it's almost impossible for a playwright in the U.S. to make a living. You can have a play, like I did with 'Angels,' and it still generates income for me, but it's not enough for me to live on and have health insurance.
But when reflexion begins to play upon these objects... like some trick of magic each object is loosed into a group of impressions - colour, odour, texture... And if we continue to dwell in thought on this world... the whole scope of observation is dwarfed into the narrow chamber of the individual mind.
I've always loved comedy and growing up it was the comedies that I really responded to. So I don't know how it turned out that once I started acting that I started getting a certain kind of role, that I never saw myself as growing up, so I really love when I get an opportunity to play a [comedian] role.
After my second-to-last record called "The Greatest," I had gone on tour for a while and I didn't play an instrument for about five years. And I got kind of - it's not self-esteem or whatever, not anger towards myself - but disappointed in myself that I hadn't been challenging myself to learn musically.