I'm aware of the power of looks. I've wanted to play roles that have gone to much better-looking people and you just think 'Oh well, that's the pin up guy's an actor like my friend James Mcavoy, who's gorgeous on screen. I'm not that. But at least I don't have to worry about taking precious care of my face because it's my commodity. That's a great freedom. I'm not afraid of being heinous for the sake of a part

Do not waste the vast majority of your life doing something you hate so that you can spend the small remainder sliver of your life in modest comfort. You may never reach that end anyway. Resist the temptation to get a job. Instead, play. Find something you enjoy doing. Do it. Over and over again. You will become good at it for two reasons: you like it, and you do it often. Soon, that will have value in itself.

I'm working on a script right about Civil War re-enactors who go back in time to the actual Civil War. It's kind of a big, crazy Back to the Future comedy. So, of course, it's the Civil War - I play the banjo. I was just having a conversation with one of the producers about some of the material and he was like, 'You know, we have to work in a scene where you play the banjo. And I was like I'll get behind that.

I wanted to be a musician. I just wanted to be famous because I wanted to escape from what I felt was my limitation in life... And I wanted to write music, and I didn’t know what I was doing and I never had the technique or understanding of it... But I’ve always played the piano and I can improvise on the piano, but the problem is that I can’t write down what I write. I can read music but I can’t write numbers.

Perhaps Westerners are in a better position to practice true renunciation than uneducated Orientals because most Western people, by the time they come to the Dharma, have led a pretty full worldly life with lots of sensual pleasures, money and lots of toys to play with. They have seen that the path of accumulation of worldly treasure does not lead to happiness or contentment. That's why they come to the Dharma.

In the thirties a whole school of criticism bogged down intellectually in those agitprop, social-realistic days. A play had to be progressive. A number of plays by playwrights who were thought very highly of then - they were very bad playwrights - were highly praised because their themes were intellectually and politically proper. This intellectual morass is very dangerous, it seems to me. A form of censorship.

What’ cha doing out here all alone? Did you forget how to find Sanctuary? (Simi) No. I want to be alone for a bit. (Gallagher) Why? Were the bears mean to you? Mama can get a bit cranky whenever I play with the cubs. She thinks I’m going to eat one, but bleh! They’re way too hairy. Now if she’d let me skin one, I might be interested. (Simi) Are you joking? (Gallagher) Oh no. I never joke about hairy food. (Simi)

Michael Cole does not deserve to be piled on like many are doing. He deserves respect. Michael is fulfilling a role on a fictional, TV show. He has been 'cast' to play this role as best as he can. For those that have never sat in that particular seat, let me assure you that it isn't easy. Cole's new persona must be working because never before have so many fans, for better or for worse, commented on Cole's work.

There was a magic about the sea. People were drawn to it. People wanted to love by it, swim in it, play in it, look at it. It was a living thing that was as unpredictable as a great stage actor: it could be calm and welcoming, opening its arms to embrace it's audience one moment, but then could explode with its stormy tempers, flinging people around, wanting them out, attacking coastlines, breaking down islands.

Honestly, when you start talking about genres, you're talking as much about the business side of writing as anything else. Certainly there are elements of reader expectation that play into various genres, and those are important, but it also becomes about packaging, placement, audience....In the end, I'm not a fan of labels. I think the best fiction blurs the boundaries between genres, stretches and breaks them.

He is a legend and he's going to be remembered for a long time. Just to play alongside him and learn from him has been an absolute pleasure. I think he is a footballer's footballer; he has been at this level for so long. As long as he is part of us we always feel we have a chance. We appreciate the way he goes about his business. I have never met a character like Scholesy, certainly not someone who is that good.

Perhaps the simplest example is a synthetic plastic, which unlike natural materials, is not degraded by biological decay. It therefore persists as rubbish or is burned-in both cases causing pollution. In the same way, a substance such as DDT or lead, which plays no role in the chemistry of life and interferes with the actions of substances that do, is bound to cause ecological damage if sufficiently concentrated.

The dynamic principle of fantasy is play, a characteristic also of the child, and as such it appears inconsistent with the principle of serious work. But without this playing with fantasy no creative work has ever yet come to birth. The debt we owe to the play of imagination is incalculable. It is therefore short-sighted to treat fantasy, on account of its risky or unacceptable nature, as a thing of little worth.

I had known David Ham and Marco Santiago from having met and worked with them on The Cross and the Switchblade which we worked on together at Times Square Church. We joined together as Trace Life Media to be a directing/producing team to be able to assist churches in the production of a play in their own community or to bring a fully-produced productions - something that will be ministering to the Body of Christ.

This document will play an important role in protecting the strategic interests of Russia and Uzbekistan and ensuring stability and security in the region, which some politicians call Russia's soft underbelly. It's not a secret that after the Soviet collapse and especially in recent years, Central Asia has become the focus of interest of major nations because of its geographic location and rich mineral resources.

I, too, am deeply concerned with an overarching idea that dramaturgs are now authors . . .. I am not taking the position that all dramaturgs own copyright, deserve special billing credit, or should receive remuneration akin to that of the playwright. I know from my ears at the Dramatists Guild that almost everyone a writer encounters has suggestions of how to write and rewrite the play or musical to make it work.

I feel I'm better now than I ever have been. You learn so much as you're doing it. I'm watching tapes and I'll see things that get me annoyed and where I know I can improve. I understand better letting the crowd play more. I've always said it was important for me who I was working with, because I like to kid around a lot. But I've also learned to use my partner better. I'm feeling good. There's no reason to stop.

In reality, the likelihood of reaching the pinnacle of capitalist society today is only marginally better than were the chances of being accepted into the French nobility four centuries ago, though at least an aristocratic age was franker, and therefore kinder, about the odds. It did not relentlessly play up the possibilities open to all, and so, in turn, did not cruelly equate an ordinary life with a failed one.

Entertainment companies always have to stay on the edge of trying to catch that certain thing that will grab people's attention. And that thing is always changing. Nintendo has been doing this for a long, long time. Originally, we weren't even a video game company, but we were still an entertainment company. So I can't say what that next thing is, but I can say, at Nintendo we're trying to create new ways to play.

If you want more people to come to the theatre, don't put the prices at £50. You have to make theatre inclusive, and at the moment the prices are exclusive. Putting TV stars in plays just to get people in is wrong. You have to have the right people in the right parts. Stunt casting and being gimmicky does the theatre a great disservice. You have to lure people by getting them excited about a theatrical experience.

Most illegal immigrants are not by nature lawbreakers. Most are looking for the chance to live in dignity. Nevertheless we must continue to discourage illegal immigration for it undermines control of our borders...and even more punishes hard-working people who play by the rules and who wait for their turn to come to the United States. Therefore we must enforce our laws, but we will do so with justice and fairness.

A perfect movie is a different thing, but a funny movie is easy. I was really happy that I got everyone that I got. Everybody got to play to their strengths and was paired up in the right scenarios. It was very fortunate. It was exciting, the whole process. It makes more difficulty in editing 'cause there's more footage, but the guy I had handle it was a documentarian editor for a long time, so it was very useful.

It's remarkable she [Venus Williams] plays at all, given her Sjögren's syndrome [an autoimmune disorder that can cause joint pain]. She's back, winning tournaments. She didn't allow society to tell her, "You have this disease; you can't do that anymore." I look at her, like, "She's not playing at 100 percent. You are. You don't have excuses." Knowing what she went through helped me try to be a more positive person.

For suppose that every tool we had could perform its task, either at our bidding or itself perceiving the need, and if-like the statues made by Dædalus or the tripods of Hephæstus, of which the poet says that "self-moved they enter the assembly of the gods" - shuttles in a loom could fly to and fro and a plectrum play a lyre all self-moved, then master-craftsmen would have no need of servants nor masters of slaves.

I was interested in a whole range of music that I used to play, popular music -- particularly American music -- that I heard a lot of when I was a teenager," "I think at a certain point it dawned on me that myself playing this music wasn't very convincing. It was more convincing when we played music that came from our own stock of tradition. ... I certainly feel a lot more comfortable playing so-called Celtic music.

Perhaps it was Maggie, perhaps not. In solitary moments magpies will perch on a branch and mutter soft soliloquies of whines and squeals and chatterings, oblivious to what goes on around them. It is one of those things, I suppose, intelligence now and then does, must in fact now and then do, must think, must play, must imagine, must talk to itself. ... What, finally, intelligence could be for: finding your way back.

You might be someone's favorite, but you might not be someone else's favorite. I will tell you that there was a [casting notice] that said "Tracee Ellis Ross type," but [the producers] didn't want to see me. I've been in this industry long enough to know that even if someone wants to promise me something, it doesn't mean that it's going to happen. There are so many things at play. But it was flattering and exciting.

Finally the novelty came. These days it seems to be normal to play novelties somewhere in the ending. Apart from just being the novelty, this move is also very strong. It is most probably that Radjabov found this natural improvement over the board, as he spend more than an hour, if I am not mistaken. But it could be that he was just trying to remember his own analysis (can you imagine how much he has to remember??).

For memetics to be a reasonable research programme, it should be the case that copying, and differential success in causing the multiplication of copies, overwhelmingly plays the major role in shaping all or at least most of the contents of culture. Evolved domain-specific psychological dispositions, if there are any, should be at most a relatively minor factor that could be considered part of background conditions.

On indies it's hard to do, but in rehearsals, you make mistakes in rehearsal. It's really hard rehearsing a play or what rehearsal you get on any movie. That's where you get to make your mistakes, and you make big ones. So when you shoot [the movie] or you finally get the play in shape and do it, the mistakes are out of the way. If you're not afraid to make mistakes, then there is no writer's block or actor's block.

Hamlet 's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.

I wanted to get that scholarship to - a division one scholarship and play ball and go to school for free. And that, to me, was - I was always about getting to that next step. If I could get to that next place, then I could figure out essentially what to do with being in that space and how to manage my time and handle those - handle all the benefits of being in that space in a way that would get me to the next place.

Josh [Gad] is such an amazing improviser and is so good when the material is flowing from him that sometimes, if a written scene isn't working quite right, I'll tell him that we've got it and that he can just play. He'll blow us away with some super weird stuff and some wild things that we might use bits and pieces of in the edit, and then I'll say, "Just for good measure, let's do one more of the scripted version."

The world cannot hold onto you, for the world is not sentient. The world doesn't have a mind nor does it have desires; it is only your mind's objectivisation. It is your own mind's play which imagines that an object-call it the mind or whatever-can hold onto you. It is the idea you have of who you are that is holding onto its own fearful projections as the mind. Leave all of this and remain as the pure, joyous Self.

I used to go and do some sitting in with Robert Nighthawk when he were playing at the 708 Club in Chicago. He was a tremendous slideman. I never saw him do anything other than play the slide. I never just saw him just use his hand. He always used a slide. He had a little-bitty drummer we called "Shorty". He was about that high [hand gesture]. And he was his drummer. That's all he had was a slide guitar and a drummer.

There is no reason to believe ... that the "essential purpose" of language is "communication". Language can be used to transmit information, but it also serves many other purposes: to establish relations among people, to express or clarify thought, for play, for creative mental activity, to gain understanding, and so on. In my opinion, there is no reason to accord privileged status to one or the other of these modes.

What I have found is, so much of that is like a Chinese finger trap: the more you play to the dark, the more you will get trapped in the dark, and if you just play to the light and focus on the people that don't misunderstand you and focus on the audience that does celebrate you and focus on the people who aren't trying to tear you down, all that other stuff eventually erases itself because it has nothing to feed on.

Working with Monk brought me close to a musical architect of the highest order. I felt I learned from him in every way--through the senses, theoretically, technically. I would talk to Monk about musical problems, and he would sit at the piano and show me the answers just by playing them. I could watch him play and find out the things I wanted to know. Also, I could see a lot of things that I didn't know about at all.

Well, I can’t help going to see Sibyl play, even if it is only for an act. I get hungry for her presence; and when I think of the wonderful soul that is hidden away in that little ivory body, I am filled with awe." "You can dine with me to-night, Dorian, can’t you?" He shook his head. "To night she is Imogen," he answered, "and tomorrow night she will be Juliet." "When is she Sibyl Vane?" "Never." "I congratulate you.

Now that I'm afraid was institutionalized, and the great thing about the Canadian content regulations is that it broke that open. I mean it broke it open because people were faced with no choice, but to really start listening to these records and find the ones that they could play. It didn't take long for Canadian radio to go "Wow! We're not going broke doing this, it's not killing us, the audience isn't complaining."

In my dreams is a country where the State is the Church and the Church the people: three in one and one in three. It is a commonwealth in which work is play and play is life: three in one and one in three. It is a temple in which the priest is the worshiper and the worshiper the worshipped: three in one and one in three. It is a godhead in which all life is human and all humanity divine: three in one and one in three.

In every well-written play the battle rages between the primary powers of Good and Evil, and it is this battle which constitutes the life impulse of the play, its driving force, and is basic to all plot structures...In any true piece of art...the beginning and the end are, or should be, polar in principle. All the main qualities of the first section should transform themselves into their opposites in the last section.

Here's a practice for dealing with envy...each time you find yourself envious of someone...ask yourself, "What is there that I am noticing in the other person that I want to find in myself?"...If it's money, is it the freedom? The cance to play that money buys? A sense of security? Whatever it is-more play, a sense of security, free time-you can work on getting more of it in your life, no matter what the circumstances.

I knew Richard E. Grant, and I went to him and said "Would you like to [play Kafka in the film]?" and he said yeah, and then suddenly I had all these people who were happy to come along. We got a little bit of money from Scottish Screen to pay for it. I got so many favors because I knew people in the business. I was in a remarkably good position. I got so many favors from people. I got the Monty Python technical people.

When we start understanding that all challenges are really opportunities to learn and grow and become all that we are becoming, which is all being guided by nature and her desire to maintain perfect balance, then what could be wrong? If there is nothing wrong, then the burden of humanity has been lifted from my shoulder and I'm free to be me - to play, to cry, to laugh, to work, to explore, to serve, to unfold and grow.

I love actors. I enjoy their company, and I get excited each and every time they bring a character I've written to life. Every so often a talented actor doesn't hook in correctly to a character; or someone gets lost in a labyrinth of over-complicated thoughts, and the character and play suffer. However, most of the time I find actors either end up doing exactly what was in my head, or sometimes do something even better.

The most important lesson I learned...was that the winner of a gunplay usually was the one who took his time. The second was that, if I hoped to live on the frontier, I would shun flashy trick-shooting--grandstand play--as I would poison...In all my life as a frontier peace officer, I did not know a really proficient gunfighter who had anything but contempt for the gun-fanner, or the man who literally shot from the hip.

There's always the danger that there are so damn many things that a playwright can examine in this society of ours - things that have less to do with his artistic work than have to do with the critical and aesthetic environment - that perhaps he does have to worry about whether or not he is writing too fast. But then also, perhaps he should worry about getting as many plays on as possible before the inevitable ax falls.

I used to play Barbies with my Mormon neighbor friend; it was always, "Oh, we're going to go on a date. Ken's taking us out, and we're going with Ken on a date." And I was like, "We're parachuting behind enemy lines to save the Jews." That's how I played Barbies. I was told when I was a girl that every Jewish woman has to have five children to replace three fifths of our people that were killed. That's how I was raised.

When you do these things, you sort of take the journey. The journey is all about how I can interweave the Oscar Wilde story, the story of Salome, the play itself and what it is, what it contains, and my journey as an actor, as a director, as a filmmaker, as a person struggling with whatever I'm struggling with - my own celebrity, my own life. This is semi-autobiographical in terms of my commitment to this kind of thing.

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