Quotes of All Topics . Occasions . Authors
I got to play a funny part [in the The Master Of Disguise]. There was one thing my character did that involved flatulence and laughing at the same time - that was in the script - and that was basically what sold me on it. I really thought, "This can't help but be funny." And when I saw the film, I was proud that I'd had those moments.
You'd put yourself in a play and get to know the system and learn how to be directed, and then you could be a director. So, I've just always done it. It was always a hobby. The funny thing was that when I started to get paid to do it as a professional job, I lost my hobby. I don't know what to do. I have to take up something else now.
In 1967, the students at San Francisco State invited the poet Amiri Baraka to the campus for a semester. He attracted other influential black writers such as Sonia Sanchez, Ed Bullins, Eldridge Cleaver. What emerged was something we called the community communications program. That's how I got involved; I got involved in a little play
I'd done table reads for my own screenplays, and I always thought they were so much fun. Why couldn't we do these for other classic screenplays and bring them to life? You can experience live theater, where you get to see plays produced by different directors and different casts, but there's really nothing like that for movie scripts.
It's great to be able to play the bad guy role because you always get a lot to do, but I'm always looking at the why. How does a person get to that particular point? It's those little cogs in the wheel that make it interesting for me to play. Ultimately, I hope for the audience to be engaged with it because it is going to take a turn.
The person who's receiving the food cooks as much as the chef. They have a very important role to play... There's no other activity that the person who receives it can destroy the work, can participate in how it's being done. It's emotional. Sometimes journalists are going to have to start talking more about the diners than the chefs.
I'm actually a hardcore otaku who likes maids more than having three meals a day. And I only read books related to maids. Also, I only visit maid cafes. Of course, I also collect maid figurines. I play games which feature female maids and it turns me on so much. Then I'll wear the maid uniforms and jump in joy. I'll take my leave now.
I remember when I went to try out for the Olympic team in 1972, Coach Iba told me he didn't care how many points I could score because if I couldn't guard anybody, I wasn't going to make the team. I knew to make the team I had to become a better defender. If you can play offense, you can defend. It just comes down to competitive will.
Psychosynthesis is a method of psychological development and self realization for those who refuse to remain the slave of their own inner phantasms or of external influences, who refuse to submit passively to the play of psychological forces which is going on within them, and who are determined to become the master of their own lives.
What Metallica always tries to do, as we go around and play a lot of the same cities, over and over again, year after year, is to give a different experience. We try to never play the same venues, or if we play indoors, we'll play outdoors, and all that type of stuff. It's always about just trying to do a different kind of experience.
Far too many people, especially within evangelicalism, think that the individual is all that matters, and that the corporate dimension is a distraction or diversion. Of course Christianity is deeply personal for every single Christian; nobody gets lost in the kingdom of God. But you can't play that off against the corporate dimension.
But it's been funny to try and carry the through line, but I think the main thing is the relationship that the band has because we have spent now all this time together that I think that's sort of what we returning to. And whenever we get to play together, it still sort of returns to that little shitty rehearsal space. So that's good.
Do not expect that once taking advantage of Russia's weakness, you will receive dividends forever. Russian has always come for their money. And when they come - do not rely on an agreement signed by you, you are supposed to justify. They are not worth the paper it is written. Therefore, with the Russian is to play fair, or do not play.
Everybody used to say going to restaurants... is like theater, there's stage sets, there's drama, there's play acting and you watch the show. And now, boy, everything's just become so serious. And you sit at the counter and the chef comes out and tells you what he did to the Brussels sprouts leaves and no, there's not a lot of dancing.
Remembering that life can be full of surprises is useful in any part of your life. You can try a new way of singing a song you’ve performed for years, a new way of showing your family your love for them, or a new recipe. Don’t just play the licks you know. We’re all improvising all the time — it’s good to recognize that and embrace it.
When I was in high school I made the discovery that if I was playing in a jazz club, and there were black people in the club, if I could get the black people to like what I was doing, I was on the right track. So I began to play to those people because they knew what the authentic music was. I've always had that in the back of my head.
Folks working late, I had a babysitter. I ain't about to sit here and name her. I was almost 8 when she came in late, woke me up with a game to play. Did a few things that it's hard to say. Told me to keep that secret safe. I'm trying to act like it ain't real. Had my innocence just stripped from me, and I still don't know how to feel.
Culture and society determined sexual desirability as what makes us important so long that it's part of our sensibility from birth.Little girls know. From around 2 or 3, the pretty ones already know how and why they get attention. And how quickly they learn to play it. Use it. And how quickly the rest of us figure out we don't have it.
I like the way Quentin Tarantino creates a scene using a series of close-ups or showing very cool images of a person or people walking on some ordinary street in slow motion. I wish I could achieve that kind of slow-motion effect in manga, but it's rather difficult to draw; the only things we can play with are tones of black and white.
It's like creating an artificial loop saying, 'You didn't play the game the way I wanted you to play, so now you're punished and you're going to come back and play it again until you do what I want you to do.' In an action game, I can get that – why not? It's all about skills. But in a story-driven experience it doesn't make any sense.
Although adults have a role to play in teaching social skills to children, it is often best that they play it unobtrusively. In particular, adults must guard against embarrassing unskilled children by correcting them too publicly and against labeling children as shy in ways that may lead the children to see themselves in just that way.
The mind grows by self revelation. In play the child ascertains what he can do, discovers his possibilities of will and thought by exerting his power spontaneously. In work he follows a task prescribed for him by another, and doesn't reveal his own proclivities and inclinations; but another's. In play he reveals his own original power.
I'm a big fan of James Garner. That was the other thing. When I heard that I'd get to play his younger years, (I thought) things are looking up. Unfortunately, I didn't get to meet him. He was in bad health at the time. I was a big fan of his for a long, long time - and still am! I think he's a great actor to follow a career path with.
John Logan is maybe the No. 1 screenwriter in the world today, not to mention that he won a Tony for Best Play for Red. So he may just be the best writer period right now. He wrote The Aviator, and I was in New York doing a play, and he asked if they would see me for the film, just meet with me. 'Cause that's what Martin Scorsese does.
It's so much in me to want to keep experimenting all the time. It's just inherent. Therefore I keep reaching for instruments I don't particularly know how to play, and then I become excited. That gives me energy to want to make new things, and it forces me to hear things in new ways, which then can only help to say things in a new way.
I love when there's an obstacle to overcome, even for the audience to actually empathize with that character. I find that interesting, and then, how to work around that and make them relatable. That's something that you have to dig into the moments and into the performances and see how to play those situations that make them relatable.
Rent Control was an interesting movie. It was directed by... I had done a couple of plays off Broadway, and this Italian director came, his name was Gian Luigi Polidoro, and he determined I was the person to play the lead in his low-budget comedy. He'd won an award at the Venice Film Festival, and... He was, y'know, a skilled director.
Our phones do play to our natural nervousness about being vulnerable to each other, but that doesn't mean that we can't we can't pull ourselves together, and say - we need to talk to each because it's in conversation, the most human and humanizing thing that we do, that empathy is born, that intimacy is born, that relationship is born.
Play exists for its own sake. Play is for the moment; it is not hurried, even when the pace is fast and timing seems important. When we play, we also celebrate holy uselessness. Like the calf frolicking in the meadow, we need no pretense or excuses. Work is productive; play, in its disinterestedness and self-forgetting, can be fruitful.
Inside, my soul became so cold I hated everything. I even despised the sun, for I knew I would never be able to play in its warm presence. I cringed with hate whenever I heard other children laughing, as they played outside. My stomach coiled whenever I smelled food that was about to be served to somebody else, knowing it wasn't for me.
When I was studying at Berklee, I got the feeling I couldn't play the [guitar] at all, because I could not use my own things as they didn't fit any set pattern. When I joined [Chico Hamilton], he helped me immensely to develop my own style. He never forced me in any set way. At all times, he encouraged me to be myself on the instrument.
I used to go over to Gene Kelly's house and play volleyball, and Paul Newman and Marlon Brando were always there. You kind of took it for granted because I was 20, 21, 22, and they were a bit older - well, Gene certainly was. But it was just part of daily living. They were in the same profession, and you didn't think that much about it.
The risk is only in the outcome. You're going on a journey. You're going somewhere to play. And at that time, it felt right to spend that 11 or 12 days exploring this kind of role because it was so different and so challenging for me. It was really exciting to be able to show people, "Look, this is very different. Isn't it interesting?"
I met Gary (Burton) at the Wichita Jazz Festival when I was 18 -- he was one of my favorite musicians and I got to play a few tunes with him there. Shortly after that, I joined his band, which was the equivalent of joining the Beatles for me! He was, and still is, one of the greatest musicians I have ever been lucky enough to be around.
The Circle had been less than thrilled by its choice, but we'd finally come to terms. As in, they were no longer trying to play Whac-A-Mole with my head. Only now they seemed to think they had the right to make sure that nobody else did, either. That was a problem, because the vampires felt the same way and the Senate didn't share well.
I wonder if Communists occupied in producing plays are not safer than Communists starving to death. I have always felt that whatever your beliefs might be, if you could earn enough to keep body and soul together and had to be pretty busy doing that, you would not be very apt to have time to plot the overthrow of any existing government.
Contented, unambitious people are all very well in their way. They form a neat, useful background for great portraits to be painted against, and they make a respectable, if not particularly intelligent, audience for the active spirits of the age to play before. I have not a word to say against contented people so long as they keep quiet.
What's the worst, is when people clearly haven't researched you. One time an interviewer asked me if I do a lot of plays. I'm like, yeah. Have you Googled me? There's this thing called Google, and you can ask Google that question. Then you could come to me with informed questions that didn't make me feel like I am brand new to the world.
Neurotic identity crises come when our defense mechanisms have been too successful and we're encapsulated in the fortress we have constructed with nothing to refresh us in our solitary confinement. So we play the old movies with their stale fears and their unrealistic hopes until we become bored enough to risk disarmament and engagement.
Whether you are a writer, or an actor, or a stage manager, you are trying to express the complications of life through a shared enterprise. That's what theatre was, always. And live performance shares that with an audience in a specific compact: the play is unfinished unless it has an audience, and they are as important as everyone else.
I always knew that someone was going to come at me with a script to play God. It's just one of those things, the way your career is unfolding and all the talk about gravitas etc etc, so I had a strong feeling that someone was going to offer me the part of God. I was totally prepared to say, 'Thanks but no thanks,' unless it was a comedy.
I sometimes feel a bit embarrassed to play guitar. There's something - I don't want to sound ungrateful - but there's something very old-fashioned and traditional about it. You meet kids today whose grandparents were in punk bands, really. It's very old and traditional, But then, you know, so is an orchestra and so is the string section.
For all your long-term investments, such as retirement accounts that you won't touch for at least ten years, you need a mix of stocks and bonds. Stocks offer the best shot at inflation-beating gains. But stocks don't always go up. That's where bonds come into play: They have less upside potential, but they also do not pack the same risk.
Can you play the piano like Beethoven? Or sing like Carly Simon? Can you take fie pages' worth of quotes and turn them into a usable story ten minutes before deadline? I don't think so, unless you have more hidden talents I don't know about. We all have our special sills. They don't make us better or worse than each other. Just different
I think that's why I play tennis, because of the challenge, because of the competition, .. That's why we love to play tiebreaker in the third set. It makes it more exciting, and the bigger support in the stand, and more fans involved in it. I really enjoyed the competition and took a lot of hard work to make myself No. 1 at 18 years old.
I am not attempting to preserve culture, or record actual events or stories. Instead I bow my head in gratitude to those storytellers who have gone before and paved a way for me play in their stomping grounds. Doubtless those who want to be offended, will - allowing me to make them happy, too, which pleases me as much as it pleases them.
Democracy, finally, rests on a higher power than Parliament. It rests on an informed and cultivated and alert public opinion. The Members of Parliament are only representatives of the citizens. They cannot represent apathy and indifference. They can play the part allotted to them only if they represent intelligence and public spiritness.
One of the greatest learning experiences I had was hanging out with Maureen Tucker from the Velvet Underground. There's a woman who has no training and has a very simplistic and very tribal drumming style. I don't even know that she can even do a drum roll, but she's probably my favorite rock drummer because she plays every note perfect.
But the great thing about shows now is since we've been doing (Comedy Death Ray), they have lightened up on their booking policies a bit more and are booking somebody who isn't famous and who hasn't been around ten years. It's great to see people who've done our show - the first big show they've ever done - now they can play around town.
The church, by and large, has had a poor record of encouraging freedom. She has spent so much time inculcating in us the fear of making mistakes, that she has made us like ill-taught piano students: we play our songs, but we never really hear them because our main concern is not to make music to avoid some flub that will get us in dutch.