Quotes of All Topics . Occasions . Authors
I was just so honored to play the role of Cinderella and to just be the first African-American princess, that's just historic for me, that's such a mark in my life and my career and then the bonus of just working with my favorite person in the whole world, Whitney [Houston], like her voice just did something to my spirit.
When you have something good... When you have something good, you don't play with it! You don't take chances with it! You don't take risks with it! When you got something good, you get every single thing you can get out of it! Because guess what? When you take care of something good, that something good takes care of you.
I had made a vow to never stay in my home state to play, I wanted to go as far East Coast as possible, more or less to get away from my family life. I ended up staying in my home state and fell in love with it. I ended up having a beautiful relationship with my family over time and it was the best decision I've ever made.
Part of the core information that I've been purveying is that identity politics is a sick game. You don't play racial, ethnic, and gender identity games. The Left plays them on behalf of the oppressed, let's say, and the Right tends to play them on behalf of nationalism and ethnic pride. I think they're equally dangerous.
You'll have games where you're out there a long time. Being able to go through that and not get stiff was a good thing for me, ... As I went along, it felt better, and on that last play [a nifty move to his right and a throw across his body for the final out in the seventh] had a lot of body torque to it, and no problems.
In the old generation, if one kid bought a PlayStation 2 and the other kid bought an Xbox, at his house you played PlayStation, at your house you played Xbox. Now that it's online, all those early buyers who... you want to play with, they've got their reputation online of who they are and how good they are at these games.
Sometimes I wonder if I shouldn't leaving being musician because I use to like it when noone came to see me playing, because I didn't feel any pressure. I can enjoy myself and probably play better. Sometimes when I play, people expect something of me, and I'm not always able to to that. Quite often. So I get totaly nervous
I have, over the years brought an enormous number of plays to television starting obviously with Nicholas Nickelby and then things like Angels In America or in Wit with Emma Thompson and Mike Nichols. So, yes, I do find that very interesting and I'm sure that down the road there will be plays that I'll want to do that way.
I had the opportunity to play every day in the minors, and everybody knew me in the minors. In the big leagues, it was a little different. It was up and down and up and down, and I didn't get a chance to show people that I can play every day and I can be a superstar. Now, I can show everybody what they are getting from me.
One has to bear in mind that during my childhood and adolescence, I suffered the repression of the Somoza dictatorship in every way: economically, socially, as well as at the hands of the police -- because if we went out on the street to play baseball, for example, the police would come and beat us up and put us in prison.
I grew up knowing a lot about LSU watching them on TV. They were always on TVI had a bunch of friends and family at LSU. It's a cool stadium. I never got to go to it. I heard it's really a special place. It's a big place. It's intimidating. It's loud. We have to play really good there. I'm looking forward to playing there.
Compare the credit for a football touchdown, which might be shared by the receiver not only with the quarterback, but also with the linesmen who make crucial protective plays, etc. The success of the touchdown play depends on the receiver, it is true; but in a particular case it might depend far more on the work of others.
You can go out and find ways to make your own record and get it out there now. If you really want to, you can be heard. Keep things simple. Learn to go out and play solo. That's a really really good thing to learn, if you're a singer-songwriter. Don't be dependent on a band because you may not always be able to afford one.
I'm very fortunate that I get asked to do very different kinds of roles and I realize how much I enjoy that. I enjoy the challenge of transformation. There are actors who play one character, or a certain kind of character, the whole of their lives. I really relish the opportunity to have the challenge to totally transform.
In the Gospel we have just heard, Jesus, the Master, teaches the crowds and the small group of his disciples by accommodating himself to their ability to understand. ... Jesus does not seek to 'play the professor.' Instead, he seeks to reach people's hearts, their understanding and their lives, so that they may bear fruit.
I don't want to denounce musicals because they certainly have a message they want to communicate. But with straight plays, there is a focus on what's going on between people and relationships. I think so much is happening in the world at the moment, so many changes politically and culturally, writers are writing about that.
I played upright bass. I wanted to write great tunes, play the bass, be a band leader, and smoke a big funny pipe like Charlie Mingus. So I went out and bought the pipe when I was around 18 or 19 years old. You know even women smoke a pipe in Glasgow. I worked with Carla Bley and she smoked a pipe, which I find fascinating.
I was at a school in England, a prep school, from the ages of 8 and 13. And every play they did was a musical. Parents love musicals. And I don't sing. It was driving me crazy. 'We're doing 'Macbeth.'' 'Yes!' 'The musical!' And I was always in the chorus, because of course, in all the main parts, you had to be able to sing.
I must be absolutely clear about this. Britain cannot accept the present situation on the Budget. It is demonstrably unjust. It is politically indefensible: I cannot play Sister Bountiful to the Community while my own electorate are being asked to forego improvements in the fields of health, education, welfare and the rest.
But I still read Shaw on a regular basis. What I love is the nakedness of the polemic and the irresistible good humour. For me, 'Major Barbara' is the greatest of all the plays in that it starts from the rational and proceeds to the ecstatic in a spectacular way, and leaves you very confused if you cling to Euclidean logic.
How then shall they have the play-games you allow them, if none must be bought for them?" I answer, they should make them themselves, or at least endeavour it, and set themselves about it. ...And if you help them where they are at a stand, it will more endear you to them than any chargeable toys that you shall buy for them.
At the end of the process we called a market research company to find out whom the film was for or what was the target audience. We didn't have a lot of money to release the film, so in order for it to play in cinemas, which are dominated by films with much larger marketing budgets, we had to discover whom the film was for.
For every show that we do, anyone that rides public transit, bikes, or walk, we offer them a $5 voucher at the merch table. It gets people using the infrastructure in the area. Hopefully, the venues where we play will lobby city council and say, we need bike paths, sidewalk repair. That stuff affects so many people's lives.
Choose your team carefully. So much of your success is due to the people who you surround yourself with. Your friends, your family, and the people that you work with -- they all play an important role in inspiring you and supporting you and giving you stability. These are the people in your life who will be honest with you.
The past several months have brought on much introspection, and I have decided that while my desire to compete on Sundays is still and always will be there, my willingness to commit to the preparation necessary to play another season has waned to a level that I feel is no longer adequate to meet the demands of the position.
At the end of whatever we're doing, I always feel like I want to go back and start over again because now I have a better sense of what it is. I feel that with everything. Like, if you're doing like a long run of a play and you're doing it seven shows a week, at the end of it, I want to go back and start from the beginning.
I love acting in the theater,but I'm fascinated with acting on film. If it's a film or a play or whatever, if the writing is good and you really feel passionate about it, you just can't lose. You'll grow from it. Whether it's a success or not is neither here nor there; you're going to grow as an artist from this experience.
Matthew Davidson is blessed with a God-given, born-in-the-bone, talent. His musicianship is far beyond his age. When I play with Matthew, it's like playing with a musician with many years of experience. Always a perfect gentleman, Matthew's personality shines through in every performance. He obviously loves what he is doing!
There are definitely things about acting that have helped me growing up and finding myself, but there are also things that make it a bit more difficult. I guess I do allow myself to explore more when I know that, at the end of the day, if I really wanted to, I could just play a different person all day and be fine with that.
It's more frustrating. My expectation probably wasn't that I'd play [during the playoffs], but I was just trying to make sure that if there was any chance that it was possible to come back that I was ready and that I'd done everything I could to be ready. It's frustrating, disappointing. But can't really control any of that.
I worked on it [ Too Much Tuna] for a little bit downtown and it was a great experience. I couldn't believe how enthusiastic the audience was for it. It was just extraordinary. It felt like you were at a rock concert, which was just unusual for shows at Cherry Lane, which are usually intimate plays about big ideas, you know.
Only you can be you. God designed each of us so there would be no duplication in the world. No one has the exact same mix of factors that make you unique. That means no one else on earth will ever be able to play the role God planned for you. If you don’t make your unique contribution to the Body of Christ, it won’t be made.
According to most philosophers, God in making the world enslaved it. According to Christianity, in making it, He set it free. God had written, not so much a poem, but rather a play; a play he had planned as perfect, but which had necessarily been left to human actors and stage-managers, who had since made a great mess of it.
I loved the movie theater so I always saw a lot of movies. And then there was a play, I saw in the local paper, they were having auditions for a play of a book I had read. Which was One Flew Over the Cuckoo's Nest by Ken Kesey. So I said, "oh, I've read this, so I'm perfect for the part of the lead." His name is escaping me.
Rugby has always been a game for all shapes and sizes. You have the superstars and the fast guys who score the tries, but you also need the workhorses and the people who play all the other roles. Unless they all work together as a team then it's really going to affect the performance. Everyone's got to rely on everyone else.
When you do a play, you have the kind of nightly feeling of accomplishment. But you also have the daily dread of the doing it every night. And because you're doing the whole thing every day, it's like climbing up the mountain every single night. With a movie it's like climbing the mountain very slowly, over months of filming.
No matter what, I will always prefer a live performance. Whether it be a play or a musical, or playing music live. As long as it's live, it's the best because there's sort of an immediacy to connection between an audience and a performer, whereas where you do film or television, you're at the whim of so many different forces.
At the root of all power and motion, there is music and rhythm, the play of patterned frequencies against the matrix of time. We know that every particle in the physical universe takes its characteristics from the pitch and pattern and overtones of its particular frequencies, its singing. Before we make music, music makes us.
Emma hears me come up the stairs and asks me to watch a movie with her. I stick Band-Aids on my weeping cuts, put on pink pajamas so we match, and snuggle with her under her rainbow comforter. She arranges all of her stuffed animals around us in a circle, everyone facing the TV, then presses play...Ghosts dare not enter here.
In Tar Baby, the classic concept of the individual with a solid, coherent identity is eschewed for a model of identity which sees the individual as a kaleidoscope of heterogeneous impulses and desires, constructed from multiple forms of interaction with the world as a play of difference that cannot be completely comprehended.
The reason I don't play golf is because I was a caddie when I was 13. Women never gave up a golf ball that was lost somewhere in the trees and thicket and down through the poison ivy. It was during one of these searches that I vowed to the Lord above that if I ever earned enough money I would never set foot on a course again.
I want people with epilepsy to know that there are ways in which they can play a role in their own recovery. It's all in how they approach what is happening and how they can use that as a catalyst for their own growth. If there's one thing that I've learned, it's that people are willing to embrace you if you share your story.
People are going to say, ‘Well, it’s not very truthful.’ But a songwriter doesn’t care about what’s truthful. What he cares about is what should’ve happened, what could’ve happened. That’s its own kind of truth. It’s like people who read Shakespeare plays, but they never see a Shakespeare play. I think they just use his name.
I do enjoy that folks [ Howard Ashman, Tim Rice and Chad Beguelin] really get into [ Aladdin ] because I enjoy getting it. I love it where you just get to go nuts. Ninety percent of what you hear, he wrote. There's ten percent that he let me play around with in the studio and actually put in the script if it was funny enough.
When I started, we had just the camera and the person, mostly. And if you wanted to do a dolly shot, particularly working in Chicago where I began, you'd get in the back trunk of a car, and you'd have a friend drive the car, or you'd get in some kid's little wagon that he plays with and have someone pull that for dolly shots.
The interesting thing about Hain is that he's not a very interesting character. He's not fabulously clever. He's not a great policeman. He's not hugely charismatic. I'd describe him as a kind-of Chekhovian character. He's an ordinary bloke, to whom extraordinary things have happened. Which is quite hard to play, I have to say.
The psychological detective story in "Equus" made Peter Shaffer's name as a playwright. But it was his next play, "Amadeus," that cemented his reputation, largely because of the movie version. Another battle of wills, it was the story of composer Wolfgang Amadeus Mozart seen through the eyes of lesser composer Antonio Salieri.
I enjoy being a woman. It's what I learned from years of experience in modeling. You learn how to seduce; how to be sensual, how to play. It's very important for a woman, I think. But it's not by beauty that you seduce. It's a meeting - it depends on the image the other reflects back to you, how they see you and make you feel.
With a four-string, the middle range is less of an option. That kind of 5th that you play on those A and D strings isn't there. So a lot of traditional rock sounds, you can't play them. But to be honest, there was no particular intention when I started playing with four strings. It just worked out that way and it sounded cool.
The trade of advertising is now so near to perfection that it is not easy to propose any improvement. But as every art ought to be exercized in due subordination to the public good, I cannot but propose it as a moral question to these masters of the public ear, whether they do not sometimes play too wantonly with our passions.