Quotes of All Topics . Occasions . Authors
It was a roller-coaster process. For a long time I had no idea what I was doing. I wasn't writing with an outline. And, rare for me, I wrote scenes out of sequence. . . . I didn't understand the play when I wrote it. It was something I'd give in to. It happens to me periodically. I give over and write whatever comes to me and I don't know what it means and then I do. It's thrilling.
As I've gotten older, the parts have diminished. I liked it when I was younger, I could always play the lead in the movie and I could do all the romantic scenes with the women, and it was fun and I liked to play that. Now, I'm older and I'm reduced to playing the backstage doorman or the uncle or something. I don't really love that so occasionally, when a part comes up, I'll play it.
It's hard to say. Whenever you play with a group of people for a long time it influences the way that you play with others. They were all very defining in their own way and all affected the band in one way or another. I don't think they are so obvious in the music. The fact is that The Lawrence Arms is the culmination of a long search of trying to find people who play well as a unit.
Art begs you to notice it. Why? Because art is God's way of saying hello. So pay attention to poetry. Pay attention to music. Pay attention to paintings and sculptures and photo exhibits and ballets and plays. Don't let all this go unnoticed. Your world is shouting out to you, revealing something intrinsically glorious about itself. Listen carefully. Love art, the way art loves life.
You collaborate with actors who are also talented and visionary and come together on a artistic direction within the confines of humanity and realism. The collaboration that you have had with all of these people plays an integral role in its final stage where editing and music are combine to enhance your work. This whole process is very rewarding and I wouldn't trade it for anything.
If you're a fan of it, there's a lot of things that plays into what the fans of the series want. If you've never seen them before, a lot of people who have seen it tell me that it's the most accessible of the three. It's a solid story, by itself, and it's more of a sort of action film. When I was watching Twilight the other day, I realized that you do need to read the book to get it.
That was...that was choking. You're right. But of course when you play against (Roger) Federer, he's No. 1 in the world, he won three grand slams last year, and he's just full of confidence. It's difficult to do anything regular to beat him. You have to do something extra to be able to have the chance to beat him. Set points, I had six of them and I couldn't take one. But I was close.
With joint-stock corporations, investors can place bets on the success of many different companies, without having to play a central management role in any one of them. This allows investors to diversify their financial holdings. It also allows them to capture profits on their investments, without having to get involved in the dirty, troublesome business of actually running a company.
I bought a tenor but I haven't dedicated the time to it, plus I haven't found a mouthpiece that I like as of yet. I've been doing a lot of mouthpiece searching for the alto in the last few years and now that that's cooled out maybe I can begin the search for a tenor mouthpiece. After doing it for the alto, I just haven't felt like looking for any more mouthpieces. You play both, right?
Music is a universal language insofar as you don't need to know anything else about a musician that you are playing with other than that they can play music. It doesn't matter what their music is, you can find something that you can play together, with what their culture is. The dialect part of it comes into play, but nothing like the differentiation that language sets up, for example.
I am happy that we are not favorites. To be very honest it's big pressure of being favorites. We were not favorites last time (in 2011) too but we played excellent cricket. Similarly this time, there are teams which play on those bouncy wickets like Australia and South Africa, and are probably bigger favorites than us. But we hope that with the type of resources we have we can do well.
Although his playing career with the Broncos took place before my time with the team, I am well aware of what Floyd Little means to this franchise, city and league. Aside from his stellar play on the field, he helped make the Broncos relevant in the NFL and strengthened the bond between this team and its fans. He has waited a long time for this honor, and I couldn't be happier for him.
I saw so many amazing musicians struggling to build something good. They would play and play... and play some more, but it seemed like there was something missing. I wanted to go someplace higher myself, and go there with the people who come to hear me play. So I began to envision events with their own gravity, that would pull a community of people together for a meaningful experience.
I mean the people who seriously, seriously play devote their lives to it sort of the way monks do. I mean you don't date, you go to bed at a certain time, you eat certain ways, you practice 10-12 hours a day. And I mean, the difference between practicing three hours a day and practicing 12 hours a day is everything. And I certainly never - I never trained seriously after the age of 16.
I'm a little older and fatter now, and I'm not exercising as much. My lifestyle these days involves a lot of beer and pasta. But there's something satisfying in letting your body go to hell. So maybe I won't get offered the same kind of role as before. So what? I'm happy to play the guy in his mid-30s who may be a little unhealthy. "Fat and arrogant" is what I'm bringing to the script.
I consider the first 20 performances just learning the piece. Think about it this way: If you think about a pianist who plays a Schubert sonata through his whole lifetime - if you listen to Rubenstein or Horowitz playing their repertoire later in their life, you understand the richness with which they play that music, and how differently they must have played it when they were younger.
We were just amazed we were putting out a record. We were, and are, still learning. But we've never cared much for professionalism as long as the energy was there. Like our live shows: We're out of tune and use a lot of feedback. That's not on purpose or because we don't care, we're just musically and rhythmically retarded and we play so hard that we can't tune our guitars fast enough.
I think we have a little added appreciation for the Canadian fans, maybe because there's a lot of Canadians that want a Canadian band that seems to tour a lot more in the U.S. that are like, "Whatever. You guys don't care about us. You just turned your back." Our fans, the people that we hang with in Canada when we play, seem to be super-supportive still. We have a lot of love for that.
The condition of the theater is always an accurate measure of the cultural health of a nation. A play always exists in the present tense (if it is a valuable one), and its music -- its special noise -- is always contemporary. The most valuable function of the theater as an art form is to tell us who we are, and the health of the theater is determined by how much of that we want to know.
I was composing before I realised I was a composer. It came more or less naturally. There were a couple of old ladies lived next door to me, and I frequented their house more than I did my own, because it had all those marvellous things in that that old ladies do have. And they had a piano, and I used to play around with that; they showed me how to read music and I used to play to them.
Femininity, yes, effectively there is more in The First Man, not only in terms of women but stylistically, in its elements, the notes he wrote. You can see a real love story in it, a childhood love story, [Albert] Camus' first. Meursault [protagonist of The Outsider] and Marie were never up to much really. There is Dora in The Just and others in his plays, but they aren't so well known.
Vision is easy. It's so easy to just point to the bleachers and say I'm going to hit one over there. What's hard is saying, OK, how do I do that? What are the specific programs, what are the commitments, what are the resources, what are the processes we need in play to go implement the vision, turn it into a working model that people follow every day in the enterprise. That's hard work.
We're not like a nostalgia act, or the normal classic rock act - we're a really good musical organization, ... You're going to hear some blues, some jazz, a little of everything. The guys in the band are great musicians. When we play, we're there for real. It's not about posing, strutting in tights, that kind of stuff. It's all about music, and I've always respected my audience that way.
I think there is something exhilarating in flying amongst clouds, and always get a feeling of wanting to pit my aeroplane against them, charge at them, climb over them to show them you have them beat, circle round them, and generally play with them; but clouds can on occasion hold their own against the aviator, and many a pilot has found himself emerging from a cloud not on a level keel.
To me living and music are all the same thing. And I keep finding out more about music as I learn more about myself, my environment, about all kinds of different things in life. I play what I live. Therefore, just as I can't predict what kinds of experiences I'm going to have, I can't predict the directions in which my music will go. I just want to write and play my instrument as I feel.
An idea is like a play. It needs a good producer and a good promoter even if it is a masterpiece. Otherwise the play may never open; or it may open but, for a lack of an audience, close after a week. Similarly, an idea will not move from the fringes to the mainstream simply because it is good; it must be skillfully marketed before it will actually shift people's perceptions and behavior.
He said I couldn't do (off the field) what I did when I was 23 or 24, and I paid attention to him. Damn it, I got a trainer and went to spring training in the best shape of my career and in 1985 had the best season I ever had and we won the World Series. Before that, I didn't know how long I was going to play. That talk with Mr. Fogelman was the most inspiring talk I ever had with anyone.
Wo wei ni xie de,” he said, as he raised the violin to his left shoulder, tucking it under his chin. He had told her many violinists used a shoulder rest, but he did not: there was a slight mark on the side of his throat, like a permanent bruise, where the violin rested. “You — made something for me?” Tessa asked. “I wrote something for you,” he corrected, with a smile, and began to play.
With every character you play, as these guys will tell you, there's a part of you goes into that in terms of the ingredients of making this stew. There's most definitely a part of me in Captain Jack and now, fortunately or unfortunately, there's a great part of Captain Jack in me as well. Basically, I can't shake him. He won't leave me alone. He just sort of keeps showing up at odd times.
Make a mistake in the interpretation of one of Shakespeare’s plays, falsely scan a piece of Spenserian verse, and there is unlikely to be an entailment of eternal consequence; but we cannot lightly accept a similar laxity in the interpretation of Scripture. We are dealing with God’s thoughts: we are obligated to take the greatest pains to understand them truly and to explain them clearly.
People always ask about young people like me being forced into things. I play tennis because I love it. I think Russians might be tougher than other people. When I arrived in America I was young, but I already knew what I wanted. I think that when you start from nothing, when you come from nothing, it makes you hungry. I am proud of where I came from and I know what I want. I want to win.
In a sense, I never got over Robert Lowell's History. A flawed, infinitely brilliant project I never tire of going back to. It's a modern Inferno, where Lowell plays both Dante and Virgil, guiding us through dozens of illuminating, bitter episodes from human history, all the while managing to hold a mirror to our confused hominid face as it squints at eternity and fails to grasp any of it.
One current reaction to change in families, for example, is the proposal for more "education for parenthood," on the theory that this training will not only teach specific skills such as how to change diapers or how to play responsively with toddlers, but will raise parents' self-confidence at the same time. The proposed cure, in short, is to reform and educate the people with the problem.
Playing octaves was just a coincidence. And it's still such a challenge, like chord versions, block chords like cats play on piano. There are a lot of things that can be done with it, but each is a field of its own. I used to have headaches every time I played octaves, because it was extra strain, but the minute I'd quit I'd be all right. But now I don't have headaches when I play octaves.
The emptiness I speak about is not the emptiness the mind imagines. It is not blank. Your body can continue expressing in a natural way. Intelligence is there. Emotions can come. Everything can play, but inside there is total serenity and peace. No planning, no strategising, no personal identity is there. Just the space of pure being. It is what we are, but we dream and believe we are not.
It's clear that there has to be some play between the vitality of invention in economic life and some regulation of it, and in some ways the great ideological wars of the 20th century that cost so many lives had to do with whether to have managed economies directed by government or economies directed by the free movement of capital, which is only partially subject to government regulation.
Somewhere in the infinite that He occupies, God advances and withdraws the pawns of the other games He plays, but it is too soon to worry about this one, all He need do for the present is allow things to take their natural course, apart from the occasional adjustment with the tip of His little finger to make sure some stray thought or action does not interfere with the harmony of destinies.
There were radio shows where you actually got to hear people play off of each other and get that immediate magic that goes on. And rather than doing what a lot of shows do, where an individual comes in, reads their part, and you edit it together later on and try to build a performance, we're lucky because this is really very much a theatrical performance that is going on, every single week.
Many of our students want to do what they have done and that has made them successful thus far in their lives: play by the rules, and do what is expected. But as much social science research and writing by Malcolm Gladwell, among others, make clear, the rules are mostly created by those already in power so obtaining power often entails standing out and breaking rules and social conventions.
People need open space. People need to bring their children into an area where they can play without restriction." And I was told, "This is development." And I said, "That is not development, definitely not sustainable development, definitely not responsible development. People need fresh air. They can do without buildings. They can do without concrete. But they cannot do without fresh air.
Opening a play is just tough. The idea that actors are weirdly protected from it is a myth. If you imagine yourself having to spend two and a bit hours cooking bolognaise, remembering a whole major work by David Hare and speaking it at the correct moment between chopping carrots and stirring the onions in front of an audience - the normal human response is 'Please, can I go to the airport?'
I'm not a real musician. If you give me a bass guitar and you ask me to improvise something, or even be with some musicians and follow them, I wouldn't be able to do it. And I want to change that. I want to be able to be in a group and take my guitar and play with them, without someone showing me, "Okay, you're going to do this and that," because music has always been a big part of my life.
My grandparents were classic Indian grandparents. My grandmother would put so much powder on her face that it was like a Kabuki play and she'd come down the stairs. I was like 8 or 9 years old. My grandfather apparently had no teeth because he would take out his teeth and put them in a glass, and then he would try to scare me with it. I started to try to scare them when I was a little older.
[Bob Dylan] is principally a recording artist, and if he weren't, it is unthinkable he would have had such an impact. He is to be heard first and read second. Well, what about plays, you could reasonably ask. Is [William] Shakespeare not great literature? Yes, obviously: but his work is great literature even to those who have never known it performed. The same is evidently not true of Dylan.
There is a good deal of excellent research on child's play. It has shown conclusively that through play, with the freedom of action it allows and the stressless environment in which it occurs, children discover, relate to and define themselves and their world. ...It is, therefore, paradoxical that many educators and parents still differentiate between a time for learning and a time for play.
She might not know what your routine is, but I do,” I said softly. “So put the lantern down. You’re not burning me yet, and we both know it.” “What’s she saying?” Sarah demanded, hobbling over. His white brows drew together, and I allowed a little smile to play on my lips. “Awfully bossy with you, isn’t she? Then again, it makes sense. She’s got the pants on, and you’re the one in the dress.
Earl Scruggs had this thing that it wasn't just the technique or even the instrument. It was him. There was this soulful quality that came through that made you - if you're somebody like me who was, I guess, supposed to play the banjo, it made you stop in your tracks, and you couldn't do anything until you got done hearing him play, and then immediately you'd have to go try and find a banjo.
Olympus has been a much welcomed return to my Shakespearean roots. King Aegeus demanded a much greater range and depth that I've yet had the opportunity to tap on camera. Lab Rats was a wonderful opportunity for me to just go be a goofy buffoon, which I love. It was exhilarating to listen to all the funny lines the writers would come up with on the spot and then get to play them immediately.
Cable is not a robot. The metal in his body is actually organic tissue. Ed and I have talked about this a lot. We liken it to a cancer that changes your body's cellular structure. Last time we saw him, his arm had been severed. It's back with a kind of force that will play a major role in this storyline. This is a battle inside Cable's body that he has waged since the first time he appeared.
An exception was made with respect to me, because of my victory over Marshall. Some of the masters objected to my entry ... one of them was Dr. Bernstein. I had the good fortune to play him in the first round., and beat him in such fashion as to obtain the Rothschild prize for the most brilliant game ... a profound feeling of respect for my ability remained throughout the rest of the contest.