Play Quotes - Page 245

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To image the being of God towards the world, to be the priest of creation, is to behave towards the world in all its aspects, of work, and of play, in such a way that it may come to be what it was created to be, that which praises its maker by becoming perfect in its own way. In all this, there is room for both usefulness and beauty to take their due place, but differently according to differences of activity and object.

The reason I make art is because I get to make a choice about who I am, what I do, and what I put out into the world, the footsteps I leave behind. It's a cliché for a reason - we all kind of work our own paths through the woods. There are not a lot of paths through the woods for someone who sings, plays the cello, and wants to tour on a human scale and create change in the world. I'm on my own path. It's pretty awesome.

If I'm not directing it, I need to be right in the director's ear so we can be talking about this." You do something like use the wrong music, the tone's off, and everything feels off". And I was like, "I'm not going down with this one. I wrote it, but I don't like that play." Then I thought, "Well, no one's producing my stuff, letting me star in it, and direct it at these theaters, so I'll just do them in comedy clubs."

Folk songs are evasive-the truth about life, and life is more or less a lie, but then again that's exactly the way we want it to be. We wouldn't be comfortable with it any other way. A folk song has over a thousand faces and you must meet them all if you want to play this stuff. A folk song might vary in meaning and it might not appear the same from one moment to the next. It depends on who's playing and who's listening.

We are 'writers,' we are not supposed to be interested in filthy lucre, we are supposed to be starry eyed artistes. ... In Reality Land, we all want to maybe put dinner on the table once in a while, but in Fantasy Land, we are not supposed to be even interested in money because we are so caught up in the emotion of it all. That's an illusion, but people like it and it makes us feel holy or something so we all play along.

I feel very strongly indeed that a Cambridge education for our scientists should include some contact with the humanistic side. The gift of expression is important to them as scientists; the best research is wasted when it is extremely difficult to discover what it is all about ... It is even more important when scientists are called upon to play their part in the world of affairs, as is happening to an increasing extent.

Businesses and other human endeavors are also systems. They, too, are bound by invisible fabrics of interrelated actions, which often take years to fully play out their effects on each other. Since we are part of that lacework ourselves, it's doubly hard to see the whole pattern of change. Instead we tend to focus on snapshots of isolated parts of the system, and wonder why our deepest problems never seem to get resolved.

The play account rule is that it must be spent every month. That's right! Each month you have to blow all the money in that account in a way that makes you feel rich. For example, imagine walking into a massage center, dumping all the money from your account on the counter, pointing to the massage therapists, and saying, "I want both of you on me. With the hot rocks and the frickin' cucumbers. After that, bring me lunch!"

Oddly enough I never used to suffer from depression on cold, gray, cloudy days like this. I feel as if nature is in harmony with me, that it reflected my soul. On the other hand, when the sun appeared, the children would come out to play in the streets, and everyone was happy that it was such a lovely day, and then I would feel terrible, as if that display of exuberance in which i could not participate was somehow unfair.

God loves me, and that he has the perfect plan for me. His plan will take me through a lots of ups and downs, but if I stay faithful to him that in the end he will work everything for my good. Now when I play basketball, I don't play for anyone else, I only play for God. That's the type of purpose that he gave me, and once he gave me that purpose, is when I found my peace, and once I got my peace, that's when I got my joy.

ITV and the production company contacted me and asked if I fancied playing the role [of Maigret]. It took me a long time to decide to do it. In fact, I decided not to. I thought about it for some weeks, and thought 'perhaps not' and it went away for a while, and then it sort of came back. They said 'Are you sure you don't want to play him?', so I thought about it for a lot longer again, and eventually decided that I would.

I think, you know, for someone who does play, let's say, old music or, you know, Baroque music or Renaissance music - and you know, and I do play a lot of that, obviously - engaging with new composers, engaging with young composers, is really exciting because it makes me look at people of the past in a very different way that they are also living, that there was a lot of subjectivity in the decisions that they were making.

I worked with the late Leonard Frey. I did a play, and I would have these ideas and he would say, "I don't know. Try it." And I would try it and it would be awful, and he would go, "What do you think?" And I would go, "It was awful." And he goes, "Okay, we'll try something else." And that's great because it really makes you feel less working-for and more working-with. There's nothing better than to feel a part of the team.

My music teacher was like, "Ester, you need to pay attention in class." I'm like, "No miss lady, 'cause I can sing." I didn't want anybody to change the way I sung. I learned by gospel CDs and by watching my momma sing; I didn't need this teacher to tell me. I wish I had, because then I would have learned how to play the damn piano or something. I would have a couple of more things under my belt if I wasn't so hard-headed.

.. I get more of a dreamy thing from the audience - it's more of a thing that you go up into. You get into such a pitch sometimes that you go up into another thing. You don't forget about the audience, but you forget about all the paranoia, that thing where you're saying, 'Oh gosh, I'm on stage - what am I going to do now ?' - Then you go into this other thing, and it turns out to be like almost like a play in certain ways

If it's just a pastime, keep doing it because it's relaxing and to blow off some steam. But if you're not sure if you want to do it, or you're thinking you can be famous, you shouldn't do it because you want to be famous. You have to do it because you love it and you want to play for people. And if that's what you want to do, then do it, but you can't go into it with that mindset of "we'll be in a band and we'll be famous."

The hymns of David, the plays of Shakespeare, the metaphysics of Descartes, the crimes of Borgia, the virtues of Antonine, the atheism of yesterday and the materialism of today, were all emanations of divine thought, doing their appointed work. It was the duty of the church to deal with them all, not as though they existed through a power hostile to the deity, but as instruments of the deity to work out his unrevealed ends.

Real scientists are required to play by the rules without exception. Creationists follow the rules of science only so long as it is expedient. Then they resort to miracles. But resorting to miracles is not offering an explanation: it is asserting that no real explanation exists. Whenever creationists resort to miracles, they are admitting that their system cannot account for the facts of nature; it cannot explain the world.

In other ways, you constantly have to change people's opinion of you as one thing, especially if you want to play different roles. You have to shatter that image sometimes. I've had to do it before with stage roles, to get roles. I'm drawn to kind of darker, misfit things. I would like to, especially in film, play against type and do some heavier stuff. I'm intrigued by projects that deal with problematic people and things.

Sometimes when I can't communicate that I'm frustrated, I'll just grab my guitar and I can play out that emotion and be able to cope with whatever is going on. So even being able to, like I said, share this gift with so many other people, it's definitely very therapeutic. It helps me just to focus and to be able to kind of get out those emotions that I'm having without reacting in such a way that's not acceptable in society.

One reaches through to the continents and oceans of the imagination, worlds able to sustain anyone who will but play, and then lets the play deepen and deepen until it is a reality that few would even dare to entertain...The human imagination is the holographic organ of the human body, and we don't 'imagine' anything. We simply see things so far away that there is no possibility of validating or invalidating their existence.

I think Ive done the best I could have done. But I keep wanting to play better, go further. There are so many sounds I still want to make, so many things I havent yet done. When I was younger I thought maybe Id reached that peak. But Im 86 now, and if I make it through to next month, Ill be 87. And now I know it can never be perfect, it can never be exactly what it should be, so you got to keep going further, getting better.

One of many problems with survey research in general is that you can only survey the survivors. In other words, if you were to do a survey of people who were known to have played Russian Roulette and you sent out the questions before the time they were going to play and then you come back six months after they played Russian Roulette, you would probably discover that among the people who did come back there was no harm done.

You know what I did this morning? I played the voice of a toy. Some terrible robot toys from Japan that changed from one thing to another. The Japanese have funded a full-length animated cartoon about the doings of these toys, which is all bad outer-space stuff. I play a planet. I menace somebody called Something-or-other. Then I'm destroyed. My plan to destroy Whoever-it-is is thwarted and I tear myself apart on the screen.

What originally established the band was cover songs like Not Fade Away. Then, later on, we got more well-known ones like Satisfaction, which you might say echoed the thinking of, well, any generation you care to name, including the present one. But we didn't set out on bits of paper that we were going to be the voice of a generation. The original aim of the Rolling Stones was to play blues. It wasn't even to play rock music.

For early plays of mine, I started with character. But I think that's because I hadn't been in theaters; I hadn't worked that much. I'm very interested in character, obviously, but once I started having my plays produced, I became so fascinated by the theatrical experiment and the weirdness of theatrical space, so now all my plays start with space and stage picture and setting - or container is maybe the better way to put it.

As an improviser you need to experience the moment- and that includes everything in the moment. Observe the people around you-the bandleader, the bartender-what they wear, how they deal with people, the simple continuity of their presence. As you do that you'll see how you affect them , and you'll play and act accordingly. You need to study the reality of the moment, and that is very rarely about studying modes and intervals.

I'm often surprised by classical music and musicians. I've met a large number of them because my wife works for the Boston Symphony, and I'm in that world a lot now. I'm surprised at how difficult it is for people who are classically trained to read music or to memorize music, how difficult it is for them to improvise, to just go off and play. It's sort of, it's like terra incognita. They just, (makes noise) they don't get it.

I was quite intimidated by Ralph Fiennes. I didn't really talk to him while I was doing Harry Potter and the Goblet of Fire and the only thing I did with him was when he stepped on my head. Then I went to this play and he was there. And this girl said, “you've worked with Ralph Fiennes haven't you, Robert?” and I was like, “well, no...” and Ralph said, “yes, I stepped on your head.” And that was the extent of our conversation.

Let's not use the term democracy as a play on words which is what people commonly do, using human rights as a pretext. Those people that really violate human rights [the West] violate human rights from all perspectives. Typically on the subject of human rights regarding the nations from the south and Cuba they say, "They are not democratic societies, they do not respect human rights, and they do not respect freedom of speech".

I used to be the guy who wanted to do everything myself, wanted to write and play everything myself, but the older I've gotten, the more collaborations I've gotten. I really enjoy working with other people to create different styles of music, because I really do listen to everything, and I enjoy every kind of music. I think some of the best stuff comes from working with people who have different perspectives on the same thing.

Kelsier smiled. 'It means that you, Vin, are a very special person. You have a power that most high noblemen envy. It is a power that, had you been born an aristocrat, would have made you one of the most deadly and influential people in all of the final empire.' Kelsier leaned forward again. 'But, you weren't born an aristocrat. You're not noble, Vin. You don't have to play by their rules--and that makes you even more powerful.

Whatever character you play, whatever film it is, whatever story it is, for me, in my training it's always something that gives you a layered character, it's understanding the secret of that character, and so whatever comes up as "Oh, I thought that person was that," you are always carrying that within you. So actually what you're playing all the way through is both and it's just what comes out in the scene or the circumstance.

After we did [All In The Family], that ended up being a real love fest all around. Me and Norman, Norman [Lear] and me, Rob Reiner, everybody liked everybody. So about six or seven months later I moved out to L.A. and I got a call that Norman wanted to see me. I came in and he said "ABC has given me a property that they just optioned to make into a TV series. It's from a play called Hot L Baltimore, and I want you to be in it."

For me, on every project, I realize that I've boxed myself into a corner, or that the play necessitates some sort of theatrical convention that I realize I hate while I'm making it. So then the next play is always a rebellion. Or like, the thing I didn't even realize I was doing last time I will make sure I don't do this time. But there's always some other blind spot. And then that blind spot inspires the play that comes after.

There should be a period of time during each practice session when you perform. Invite some friends in to your practice room and play a passage or a page of something. ... What I'm trying to indicate is that each day should contain some amount of performing. You should engage in the deliberate act of story telling each day you practice. Don't only gather information when you practice, spend time imparting it. This is important.

Homophobia and the closet are allies. Like an unhealthy co-dependent relationship they need each other to survive. One plays the victim living in fear and shame while the other plays the persecutor policing what is ‘normal’. The only way to dismantle homophobia is for every gay man and lesbian in the world to come out and live authentic lives. Once they realise how normal we are and see themselves in us….the controversy is over.

Living through the 1929 Great Depression helped shape my social conscience. During this time, I realized the earth was still the same place, manufacturing plants were still intact, and resources were still there, but people didn’t have money to buy the products. I felt the rules of the game we play by were outmoded and damaging. This began a life-long quest resulting in the conclusions and designs presented in The Venus Project.

I know someone who works in a record shop where I live and I'll go in there and he'll play me "Have you heard this single?". Singles by, er the group called The Tights, so an obscure thing... and a group called, I think, er Bauhaus, a London group. That's one single. There's no one I completely like that I can say "Well I've got all this person's records. I think he's great" or "This group's records" it's just, again, odd things.

People ask me when I decided to become a playwright, and I tell them I decide to do it every day. Most days it's very hard because I'm frightened - not frightened of writing a bad play, although that happens often with me. I'm frightened of encountering the wilderness of my own spirit, which is always , no matter how many plays I write, a new and uncharted place. Every day when I sit down to write, I can't remember how it's done.

There is a huge set of consequences that start stacking up as you approach the end-game. And even in terms of the ending itself, it continues to break down to some very large decisions. So it's not like a ****c game ending where everything is linear and you make a choice between a few things - it really does layer in many, many different choices, up to the final moments, where it's going to be different for everyone who plays it.

When we were small, Rose and I used to play a game called connect the dots. I loved it. I loved drawing a line from dot number 1 to dot number 2 and so on. Most of all, I loved the moment when the chaotic sprinkle of dots resolved itself into a picture. That's what stories do. They connect the random dots of life into a picture. But it's all an illusion. Just try to connect the dots of life. You'll end up with a lunatic scribble.

There is no quicker way to earn respect as a leader than being slow to speak. It is called listening and it plays a big role in what I call “The Law of Connection.” How will you know what is important to people unless you ask and listen to the answers? If you prove to be a leader who solicits feedback and pays attention to what’s being said, then you will earn your connection and your followers will respect the guidance you give.

When an actor plays a scene exactly the way a director orders, it isn't acting. It's following instructions. Anyone with the physical qualifications can do that. So the director's task is just that – to direct, to point the way. Then the actor takes over. And he must be allowed the space, the freedom to express himself in the role. Without that space, an actor is no more than an unthinking robot with a chest-full of push-buttons.

I basically love classical music. I love a lot of musicians playing together and the whole culture of that whether it's Indian or it's Western. But in India, I think it's limited to filler music unfortunately. That's one thing I want to push in India where we have the infrastructure of an orchestra where you play Indian melodies with an orchestra and something different for a universal audience. It requires a lot of work from me.

When we started out we got a lot of positive press around the single 'Step Into My World', and a lot of Radio play. The single did really well, so we were in the spotlight straight away. I obviously had my history with Ride, but I didn't want to talk about that, so all the interviews centred around how I'd had these auditions and found the band members that way. I think people felt like that was not 'for real' enough or something.

Well, it was interesting because when I was going to do it the first time in my head was Leonardo DiCaprio [for Chris] and Marlon Brando was going to play the character that Hal Holbrook eventually played. But then when it wasn't to be and there was no promise that it ever would be I think some part of me didn't want to attach specifics to it anymore - actors or anything else - because I wanted to see it made that much more badly.

A major boom in real stock prices in the US after Black Tuesday brought them halfway back to 1929 levels by 1930. This was followed by a second crash, another boom from 1932 to 1937, and a third crash. Speculative bubbles do not end like a short story, novel, or play. There is no final denouement that brings all the strands of a narrative into an impressive final conclusion. In the real world, we never know when the story is over.

I started taping my dad's auditions when I was 11, when he was auditioning actors for one of his movies. I would see, over and over again, that there wasn't just one actor for the role. It was really clear that there were a lot of people who could play a character really well, and it would always come down to something kind of weird and non-obvious as to why a person was cast. If you're not right, you're not right, but that's okay.

Don't play it safe. Resist the seductions of the cowardly values our society has come to prize so highly: comfort, convenience, security, predictability, control. These, too, are nets. Above all, resist the fear of failure. Yes, you will make mistakes. But they will be your mistakes, not someone else's. And you will survive them, and you will know yourself better for having made them, and you will be a fuller and a stronger person.

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