Quotes of All Topics . Occasions . Authors
When you're dealing with a symbol in a realistic play, it is also a realistic fact. You must expect the audience's mind to work on both levels, symbolically and realistically. But we're trained so much in pure, realistic theater that it's difficult for us to handle things on two levels at the same time.
I was obsessed with the idea of sitting next to someone and playing a game that we were both competing in, and we were also competing with the computer. That was mind-blowing to me at that time. It was just so cool to think about the computer being able to play with us, and then also [for] us to compete.
It gave me a lot of pleasure and pride that 90 percent of the crew for 'Monsoon Wedding,' and most of my film, are women. We get the work done, you know, much lesser play of ego... And I really believe in harmony, I believe in working in a spirit of egolessness and that the film is bigger than all of us.
Many Americans do not realize that we could institute proportional representation for most elections in the U.S. without amending the Constitution. In helping to educate the public about the potential for voting system reform, CVD can play a central role in a pro-democracy movement right here in America!
The very funny thing about "Like A Rolling Stone" is it was a six minute song, there was no music to read from. And there I was playing this unfamiliar instrument. So I would come in on the upbeat of one. I would wait until the band played the chord, and then as quickly as I could come in play the chord.
The actor must know that since he, himself, is the instrument, he must play on it to serve the character with the same effortless dexterity with which the violinist makes music on his. Just because he doesn't look like a violin is no reason to assume his techniques should be thought of as less difficult.
I had just come off of doing a play in Los Angeles which actually got me the role. It was called Bent and it was at the Mark Taper Forum. I was playing a homosexual in 1930 to 1934 Berlin who is eventually put into a concentration camp for the second half of the play. I had lost about 38 pounds for that.
The physicality was important to me. Because the film has Shane Black's dialogue, and [Robert] Downey's delivery, and you look at [Jon] Favreau, Don Cheadle and Gwyneth [Paltrow], it is this heightened level with a comedic aspect to it. Everything is grounded in reality, but it plays a little heightened.
You just make different music on a computer. And you can make wonderful music on a computer, but don't pretend that the machinery is transparent. It makes as much difference to what you're doing as it does if you play an acoustic guitar as opposed to a kettledrum. You're not going to make the same music.
I decided to become a teacher because I thought it would be a great career where I could wear different hats. You're an academic one moment, and you're a psychologist the next moment, an athlete the next moment... when you are out on the playground or coaching...so it enables you to play different roles.
I was 22 and stopped writing plays, and I didn't start again until I was 25. I was writing badly. In college, I attempted to write these more conventional plays, but the theater I loved was downtown experimental theater. I didn't feel like I could do that either. It didn't occur to me to do my own thing.
If there's a God, I want to see Him. It's pointless to believe in something without proof, and Krishna consciousness and meditation are methods where you can actually obtain God perception. In that way you can see, hear and play with God. Perhaps this may sound weird, but God is really there next to you.
The ones here know I own this place and they give it space. After all, unlike the Dark-Hunters, I’m not banned from hitting or killing them, and they know it. (Sin) You’re just such a sweetie pie. I can’t imagine why the other Dark-Hunters won’t let you play their reindeer games. Shame on them all. (Kat)
I always enjoy watching Derek Jeter play because he is a model of consistency both in the field and at the plate. I finished my career with 3,110 hits, and I have only admiration and respect for Derek. I hope he pauses to admire the view and keeps going. Just one more achievement in an incredible career.
If the music in a groove fits with what you're playing, then play it; if not, then you can play it backwards. If that doesn't work, you try it at a different speed. If it really doesn't work you just break it. The whole ritual to put a record on a turntable just to listen to it, I don't do that too often.
If you think of something negative and you keep it in your head, you are going to actually live that. Now, if you think of something great and positive and joyful, you're going to actually live that. You've got to be careful what you put in your head. Basically, I'll call that: "Don't ever play yourself."
But I own that I cannot see as plainly as others do, and I should wish to do, evidence of design and beneficence on all sides of us. There seems to me too much misery in the world. I cannot persuade myself that a beneficent and omnipotent God would have designedly created that a cat should play with mice.
For me, it's always more difficult and slightly exposing to play something that's close to yourself. I always like to try to hide, just because I can't stand the way I look. But, I think it's important to change every time and come up with something that's as interesting as it can be, for your characters.
We have a guy from Switzerland who is just playing the game in a way I haven't seen anyone - and I mean anyone - play before. How fortunate we are to be able to see that. If he stays healthy and motivated - and the wonderful feel he has stays with him - he is the kind of guy who can overtake the greatest.
Fine, you fun-vampire. I’ll take my scroll over here and play by myself. (Kat) Fun-vampire? What is that? (Sin) That would be you sucking all the fun out of life. (Kat) You have the most interesting terms for things. (Sin) Yes, but notice mine are creative, unlike the so stellarly named Rod of Time. (Kat)
Occasionally I play the music for my mother when she demands to hear it and she always just says, 'Who is that singing? I don't like the singing.' And then she says 'Who's doing all that bumpety-bump noise?' It's all noise backing up horrible singing as far as she's concerned. She's not a show-biz mother.
After all the Puritans came to America to escape from persecution and then turned around and started persecuting other people. So I understand that conflict that we have related to play and pleasure and sexuality. And I think what has made my life worthwhile is trying to deal with some of those questions.
When I first started acting I was about nine years old. I had never been to audition in my life and my agent sent me out. It was just a commercial for 'Harry Potter.' That was the first thing I ever went out for and I got the 'Harry Potter' commercial which was really cool, but I didn't play Harry Potter.
My '60s plays were as good as most of the other plays I've written ... except I wasn't in a condition to refine them, to help in the rehearsal, or do anything. I was hardly conscious of what was going on except during the hours of the day when I was actually writing ... and that was with the aid of speed.
On the simplest level, telecommuting makes it harder for people to have the kinds of informal interactions that are crucial to the way knowledge moves through an organization. The role that hallway chat plays in driving new ideas has become a cliche of business writing, but that doesn't make it less true.
I would give the same advice to anyone, celebrity or not. Produce your own music, keep in original, and be real. You need to earn the respect of your fans for your original work in music, and not rely on your celebrity in other mediums. The same would apply for actors who sing, dance, or even play sports.
It seemed so wimpy at first when I started to play [guitar]. So I started playing loud with lots of effects just to try to mimic the dynamic [of the drums]. Drums seemed a lot more expressive. [I was] Trying to emulate the feeling of playing the drums on the guitar - I guess that's why I played it so loud.
Collaboration has become really integral to my process. I play music so that I can spend time with my friends and communicate in that way. I experience so much joy in that process, because, you know, it's those times of getting together and playing music and all that comes with it that are the best for me.
What I enjoy about the live experience is getting onstage, being handed a guitar that is in tune, taking it off mute, knowing that the very moment I want to play a note, I can play it. People are waiting on me and I'm waiting on me, and I have no idea what I'm going to play. That's the biggest joy in life.
Drummers get bored. You tell them to play something simple, and it gets more complicated as they do it. If they're not a composer, if they don't have any kind of investment in the music, they'll just add a bit there and another bit there, and you think no! Don't do that. So you end up using a drum machine.
A bad guy in a movie has a lot of latitude for acting. He can walk up the wall, crawl across the ceiling, go piss in the corner and everybody will say, "Fantastic!" But somebody's going to have to catch that sucker. Somebody's going to have to play the guy who gets him in the end. And that's a better part.
We had a chance to see a lot of different styles of play and you had to adapt to the different style each team plays. That?s going to help us come tournament time because the game in the Pac-10 is different from the Big East and we know how to adapt to the different styles. I?m glad I had that opportunity.
I have a thing that I do when I meet famous people where I try to play it really cool. Sometimes I pretend like I don't know them.I was at this party and James Bond was there. Daniel Craig, but I think he goes by James Bond. Anyway, my wife is in love with him. He was in a tuxedo looking all James Bondish.
Christmas Day was special because everybody is watching at home. That's what I loved about Christmas Day because it shined the spotlight on the Lakers, on our team, and we knew that all of the other leagues were at home and millions of people were watching. So it made it a special day to play on Christmas.
When you play a smaller, more intimate venue, you can have real conversations with your audience, take risks, and stay current. You can also change the set list, on how the day feels or how the audience reacts. When you do arena shows, every arena looks and feels the same. You can't see who is in the room.
I like [George] Benson because I just like it. I like that kind of style. I don't like the broken up kind of style. I don't like where you play for 16 bars and then break it up into what somebody's version of what birds twittering sounds like, or what the sound of the city is, or what New York sounds like.
Rise above the dualities, the opposites. See this whole world as the bubbles on the surface of water. See people as bubbles on the surface of the Brahman, of the Infinity...Water bubbles up, rises up. Like that, everybody is rising and having their own games and plays and dissolving back into the Infinite.
"Fish Tank" [my favorite woman-directed film] by Andrea Arnold. The film is so beautifully shot, and I love the raw energy of Katie Jarvis, who plays the main character, Mia. She is not a professional actress and she provides the film with a sense of realism. To me, the film feels so complete and superior.
The process is always the same. I get an inspiration for a new song, I put it down on paper immediately so I won't lose it. When I am ready to go to the studio with it, I play it a few times on the piano and edit, add, and type the lyrics and take it to the studio. Sometimes I don't have anything on paper.
Many a play is like a painted backdrop, something to be looked at from the front. An Ibsen play is like a black forest, somethingyou can enter, something you can walk about in. There you can lose yourself: you can lose yourself. And once inside, you find such wonderful glades, such beautiful, sunlit places.
It's difficult to say no sometimes. I often hear, "They'll really take care of you," or "Someone else is going to take the role if you don't play it." Some of the best advice I ever received was to always ask myself: Am I going to kill myself if somebody else takes this role? The answer is almost always no.
I'm a huge Luc Besson fan. The Fifth Element, I just loved that movie. Luc cast me to play a small part in it, and so I did, because I love all his movies actually - The Big Blue, La Femme Nikita, Léon: The Professional. His movies are so wonderful. It's just fun to be in it and for it to be a sci-fi movie.
Sometimes it's an external approach where one can learn the skills required, let's say, learn to play the trumpet and in that process other things happen. It's magical: through the process of practicing four hours a day you start focusing on emotion and when you pick up the trumpet it's filled with feeling.
I can't think of a single one of my plays that does not represent a coincidence between an external and an internal event. Something outside of me, outside even my own life, something I read in a newspaper or witness on the street, something I see or hear, fascinates me. I see it for its dramatic potential.
In the United States the government has become less important. So, it's democracy, but as each year passes it seems that the government plays less of a role in people's lives, and so they're living in whatever situation their employment imposes upon them more than they're living in a grand political system.
Forget that New Orleans is actually a little like the Combat Zone with French cooking, it still happens to be part of the great state of Louisiana where people play the political game the same way it's played in Lebanon. The place is one layer after another of tribes, factions and at least a million laughs.
I've found in composing that being simple and profound—having in-depthness in your music—is the most difficult thing to do. Anybody can write a whole lot of notes, which may or may not say something . . . But why make it complicated for the musicians to play? Why make it difficult for the listeners to hear?
I also learned to play Fruit Ninja on an iPad. It is quite hypnotic, and I hope one day to get past 100 points. I remembered that David Cameron admits to being an addict. I wonder if it helps him in his work. 'Great, just destroyed a pineapple! Reminds me, shall we send those grenades to the Syrian rebels?'
I think record stores play a huge part in discovering new music. When I was growing up I would spend hours going through all the bins looking for something new that seemed interesting to me and that could relate to what I was listening to at the time. This is why I want to support National Record Store Day.
Jumping twenty or so years later, Ann Ciccolella, artistic director of Austin Shakespeare, approached me with the idea of staging Anthem. She had heard my film score to Ayn Rand: A Sense of Life. And she said, I want to do Anthem as an oratorio. Well, I figured what she meant was a straight play with music.