Play Quotes - Page 246

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The Holy Spirit, in the variety of his gifts, unites us and enables us to contribute to the building up of the Church in holiness. In this great work, each of us has a part to play; each of us, as a "living stone", is needed for the growth and the beauty of God's holy temple. Let us ask the Lord to help us to take an ever more active part in the Church's life and mission, guided by the Holy Spirit and with Jesus as our cornerstone.

The ways sexuality plays out in political economies is central. And Cambodia's political economy is organized around this notion of family. So lesbianism is actually perceived as being threatening to a degree that it would have not been, for example, under socialist East Germany. But it's one of the essential issues of women's freedom: Do you get to do want you want to do with your body? Not if you don't know what your body is for.

At the end of the day, if I do a set at a festival and I only have an hour, which is kind of short for a DJ set, I know that I have to play at least six of my songs. Then the whole challenge is what do I weave around that. How do I stand out? Because at a festival there's probably fifteen songs every DJ's going to play every hour, for the whole day. That to me is more interesting, because I still feel like an outsider in this world.

I really loved the story. I originally read for Walt Longmire. He is obviously a very dynamic, strong, manly man that almost any dude would want to play. Once I got in the room and met with everybody, the feedback came back that they loved me, but that I didn't have the age. And then, they brought up the idea of Branch, who wasn't that interesting on the page in the pilot, but once they explained the vision, I really bought into it.

There's very little in the substance of [THE LADY IN THE VAN] which is not fact though some adjustments have had to be made. Over the years Miss Shepherd was visited by a succession of social workers so the character in the play is a composite figure. . . . A composite too are the neighbours, Pauline and Rufus, though I have made Rufus a publisher in remembrance of my neighbour, the late Colin Haycraft, the proprietor of Duckworth's.

Weird Weekends set out to discover the genuinely odd in the most ordinary setting. To me, it's almost a privilege to be welcomed into these communities and to shine a light on them and, maybe, through my enthusiasm, to get people to reveal more of themselves than they may have intended. The show is laughing at me, adrift in their world, as much as at them. I don't have to play up that stuff. I'm not a matinee idol disguised as a nerd

It's impossible for me to feel like there's only one way to do a thing. There's nothing wrong with having one way of doing it, but I think it's a bad habit. I believe in range. Like, there's a lot of tunes that I play all the time-sometimes I hear 'em in a different register. And if you don't have complete freedom, or you won't let yourself get away from that one straight line, oh, my goodness, that's too horrible to even think about.

I've always had great satisfaction out of writing the plays. I've not always had great satisfaction out of seeing them produced-although often I've had satisfaction there. When things go well in production, on opening there's no nicer feeling in the world-what could be nicer than watching an audience respond? You can't that from a book. It's a fine feeling to walk into the theater and see living people respond to something you've done.

More and more, I play myself, as I get older. Even as a writer, I never got typecast. I've always bounced from project to project, or initiated my own things. I was never known as the guy who wrote romantic comedies or sci-fi, or whatever, but that's fun to me. The first two films I ever had made, as a writer, were both thrillers, which was great. There was nothing funny about either of them, or not intentionally. I actually love that.

These are the saddest of possible words, Tinker-to-Evers-to-Chance. Trio of Bear Cubs fleeter than birds, Tinker-to-Evers-to-Chance. Ruthlessly pricking our gonfalon bubble, Making a Giant hit into a double, Words that are weighty with nothing but trouble, Tinker-to-Evers-to-Chance. This brief poem, immortalized the Chicago Cubs' double-play combination: Shortstop Joe Tinker, second baseman Johnny Evers, and first baseman Frank Chance.

These days, information is a commodity being sold. And designers-including the newly defined subset of information designers and information architects-have a responsible role to play. We are interpreters, not merely translators, between sender and receiver. What we say and how we say it makes a difference. If we want to speak to people, we need to know their language. In order to design for understanding, we need to understand design.

It's something we do every week. Every week kind of has bigger name headliners. It's all just our taste. There's a lot of people like Ian Edwards or Dan Mintz who a lot of people haven't heard of yet, but we know are really great. When we started the show five years ago it wasn't because Patton Oswalt needs another place to play. It was because we had a lot of new friends like BJ Novak or Morgan Murphy, who didn't have any club to play.

I'm not sure that Eastern culture does either, but I've never lived in India etc so I couldn't tell you. I can say we definitely don't. So people will sometimes come in contact with something strange and think, "Oh, it must be like this" and have a lot of fantasies about it, and somebody who sort of looks like our fantasy version of what enlightenment is can be very convincing in seeming like they've got something and then play that role.

[Photographer Julian Wasser] had this great idea that I should play chess naked with Marcel Duchamp and it seem to be such a great idea that it was just like the best idea I'd ever heard in my life. It was like a great idea. I mean, it was - Not only was it vengeance, it was art, and it was, like, a great idea. And even if it didn't get any vengeance, it would still turn out okay with me because, you know, I would be sort of immortalized.

China and Russia play very different roles. They both are getting involved across the world in all different pockets. Their tentacles are everywhere. Russia is doing it through elections and through military actions and through trying to get involved in conversations. China is doing it economically. If you look at their infrastructure, they are everywhere in the world now and they want to continue to do that so that they have a stronghold.

Groups do not have experiences except insofar as all their members do. And there are no experiences... that all the members of a scientific community must share in the course of a [scientific] revolution. Revolutions should be described not in terms of group experience but in terms of the varied experiences of individual group members. Indeed, that variety itself turns out to play an essential role in the evolution of scientific knowledge.

I don’t know who has it, but apparently other people have been playing it which is why we have zombies cropping up all over the place. (Madaug) Yeah, two and three at a time, ‘cause God forbid kids should do what we did back in the old days and play in a room by ourselves. What kind of geeks are they raising nowadays? Geeks with friends who play video games together. Whoever heard of such? It’s the end of days, I’m telling you all. (Bubba)

The biggest challenge for me, as an actor, is to be informed, prepared and focused, at the same time. I had to just keep on working, prepping, reading and imagining, all the way through, but the biggest challenge is always to let go of all that and just be open to others. That's what we do, as actor. We play with each other and we stimulate each other, and we have to be prepared to be stimulated by the other. That's always my big challenge.

As an attorney, I assure you the law isn't a line engraved in marble, immovable and unchangeable through the centuries. Rather the law is like a string, fixed at both ends but with a great deal of play in it very loose, the line of the law so you can stretch it this way or that, rearrange the arc of it so you are nearly always short of blatant theft or cold-blooded murder safely on the right side. That's a daunting thing to realize but true.

When we play music we describe the echo the tableau of natural forms, their shapes and arrangements, as uncovered by the composer's imagination, which yet must be filtered through our own. There is no other way. And in acknowledging this tableau, this revelation, we must "hesitate", we must doubt, as the composer doubted, for no valid creation can issue unscarred by doubt, by that vast flux of wonder which precedes the construction of being.

I realize that in a happy life, making your bed should play a very small part, I don't know why this is so helpful to people getting started on a happiness project, but for some reason, making your bed - it's concrete, it's manageable. There's a big difference between having a bed that's unmade and a bed that's made. That little bit of outer order in people's lives seem to help them get started. So, that's a very small thing that you can do.

Of course, the age-old tradition that a star must appear even if he or she is practically dying is an excellent one, but it can be carried too far. I one played a performance of The Knight of the Burning Pestle with a temperature of 103 and gave sixteen members of the company mumps, thereby closing the play and throwing everybody out of work. There may be a moral lurking somewhere in this, but I cannot for the life of me discover what it is.

I have always felt that perhaps women have sometimes almost embraced the same values as men, and the same character as men, because they are in the men's world, and they are trying to fit into a system that men have created. And maybe in truth when there is a critical mass of women who play that role in governments, then we will see whether women can really manage power in a way that is less destructive than the way that men have used power.

A number of African countries came to us and said, we request that South Africa should not field a candidate, because so many other African countries wanted to, and, in any case, South Africa would continue to play a role in terms of building the African Union, and so on. And they actually said, please don't field a candidate, and we didn't. As I have said, it is not because we didn't have people who are competent to serve in these positions.

Our radio plays rhythm and blues as we pass the joint back and forth in jutjawed silence both looking ahead with big private thoughts now so vast we can't communicate them anymore and if we tried it would take a million years and a billion books - Too late, too late, the history of everything we've seen together and separately has become a library in itself - The shelves pile higher - They're full of misty documents or documents of the Mist-.

As far as comic books are concerned, I was always a Marvel guy for the most part, although I did follow DC a little. I don't know, honestly I'd just like to play whatever role [that] not just the studio, but the fans think I fit the best into. Because I think, especially in worlds like that, you've really got to do right by the fan base and stay in tune with what they are looking for and what they desire. I would just want to do right by them.

I do not invent characters. There they are. That's who they are. That's their nature. They talk and they behave the way they want to behave. I don't have a character behaving one way, then a point comes in the play where the person has to either stay or leave. If I had it plotted that the person leaves, then the person leaves. If that's what the person wants to do. I let the person do what the person wants or has to do at the time of the event.

I honestly believe, and I've said it many times, that the universal stems from the specific and I can't walk around with a performance and ask everyone how they feel about it, but if noble is an opinion that people have I'll accept that. I've been asked many times why I don't play bad guys, or heavies, and I would do it, absolutely, in a second, just haven't been offered any so... if anybody has a script out there tonight I'm more than willing.

I want stuff to play as wide as possible. I want to be able to see... if I could play the whole thing in a master and it could be compelling enough, that'd be great. Then it simplifies my day, it simplifies life for the actors when you could just focus on that. But by the same token I don't want to be forced into coverage. So I want it to be as good from every angle and I need to get as many of the kind of shadings that I want from every angle.

Just wait and see this stuff play out as it does. But if, for example, why would he say some human activity linked to climate change when he has gone on record as saying that he doesn't believe it and we're gonna get people out of the EPA who do and we're gonna stop playing games with this. Why would he say it? [Donald Trump] wants to build a bridge with the opposition. This is why you don't see me at Trump Tower going up and down the elevators.

The Greeks used to use the same stories, the same mythology, time after time, different authors. There was no premium placed upon an original story, and indeed, Shakespeare likewise. A lot of people wrote plays about great kings. They didn't expect a brand-new story. It was what that new author made of the old story. It is probably the same now. We disguise it by inventing what seem to be new stories, but they're basically the same story anyway.

Language makes it possible for a child to incorporate his parents' verbal prohibitions, to make them part of himself....We don't speak of a conscience yet in the child who is just acquiring language, but we can see very clearly how language plays an indispensable role in the formation of conscience. In fact, the moral achievement of man, the whole complex of factors that go into the organization of conscience is very largely based upon language.

I've always been obsessed with drums. They fascinate me. Any other instrument - nothing. I play acoustic guitar a bit. But it's always been drums first and foremost. I don't reckon on this Jack-of-all-trades thing. I thing that felling is a lot more important than technique. It's all very well doing a triple paradiddle - but who's going to know you've done it? If you play technically you sound like everybody else. It's being original that counts.

One of the best rules anybody can learn about investing is to do nothing, absolutely nothing, unless there is something to do. Most people – not that I’m better than most people – always have to be playing; they always have to be doing something. They make a big play and say, “Boy, am I smart, I just tripled my money.” Then they rush out and have to do something else with that money. They can’t just sit there and wait for something new to develop

My family’s said to me from the beginning, ‘People are always going to tell you to pick what you want to be when you grow up. You take that and throw it out the window, that’s garbage. People are complicated and we love many things and we’re passionate about many things. You can be a human rights activist and also be doing these comedy plays in your community and that’s OK. All those things are a part of who you are and you can love them equally.

I’ve often wished that I had some suave and socially acceptable hobby that I could fall back on in times like this. You know, play the violin (or was it the viola) like Sherlock Holmes, or maybe twiddle away on the pipe organ like the Disney version of Captain Nemo. But I don’t. I’m sort of the arcane equivalent of a classic computer geek. I do magic, in one form or another, and that’s pretty much it. I really need to get a life, one of these days

I look sad because I don't have the courage to escape from you. And I think I don't want to understand the truth: for you, I am nothing but a dream. You like to play with life, you're not afraid of anything, not even of me. But I want you to know that I am not an object or a doll: I don't change faces on command, I like to sit down every day in the same place, on my own chair, and I know that you, you like to leave, to go to a new place every day.

Basketball's so much like life: if something's going great, you wait a minute, it will change. If something's going bad, you wait a minute, it will change. So I try to play things on such an even keel, knowing that things are going to change. You take the good with the bad; you don't get too excited, you don't get too down and sometimes that's the hardest thing in the world to do when you're in the midst of it, but that's the best way to handle it.

What I'm really involved in when I'm writing is something that no one ever mentions when they see any play. Writing is like trying to make gunpowder out of chemicals. You have these words and sentences and the strange meanings and associations that are attached to the words and sentences, and you're somehow cooking these things all up so that they suddenly explode and have a powerful effect. That's what absorbs me from day to day in writing a play.

I dropped out in middle school. I dropped out in, towards the beginning of the ninth grade. And then I started studying -I started taking acting classes at a, well first I was like in a community theater at that time in Torrance, California, so I finished up like my season with that community theater just acting in, you know, acting in a small part on this play or a big part on that play or a stage manager or assistant stage manager in another play.

As long as there is democracy, there will be people wanting to play jazz because nothing else will ever so perfectly capture the democratic process in sound. Jazz means working things out musically with other people. You have to listen to other musicians and play with them even if you don't agree with what they're playing. It teaches you the very opposite of racism and anti-Semitism. It teaches you that the world is big enough to accommodate us all.

Certainly as actors, and maybe as directors, you've got to hang on to something childlike. You've got to know what play is. I haven't worked with Mike Leigh, but I know him very well and there's something open in his eyes about what's in front of him. And the same is true of Alfonso in a Mexican, mad way. There's an enthusiastic response to something. Neil Jordan, the same, when he gets excited . You just want to know there's a human being in there.

Poor, unhappy Erik! Shall we pity him? Shall we curse him? He asked only to be 'some one,' like everybody else. But he was too ugly! And he had to hide his genius or use it to play tricks with, when, with an ordinary face, he would have been one of the most distinguished of mankind! He had a heart that could have held the entire empire of the world; and, in the end, he had to content himself with a cellar. Ah, yes, we must need pity the Opera ghost.

What I love about the sculpture is that it makes the bones that we are always walking and playing on manifest, like in a world that so often denies the reality of death and the reality that we are surrounded by and outnumbered by the dead. Here, is a very playful way of acknowledging that and acknowledging that and that always, whenever we play, whenever we live, we are living in both literal and metaphorical ways on the memory and bones of the dead.

If you don't practice for three days, everyone will notice." It's something you have to really maintain. So unfortunately, I don't play it that often but I may take it up again. If you don't play for a while, you just can't hit the notes. It's like going to the gym. If you go and do weights, you can lift x amount of weight and if you don't go for ages, you've gotta start again and start from the beginning. So it's a bit like that. It's just a muscle.

There's nothing you can do that can't be done Nothing you can sing that can't be sung. Nothing you can say but you can learn how to play the game. It's easy. Nothing you can make that can't be made. No one you can save that can't be saved. Nothing you can do but you can learn how to be you in time. It's easy. Nothing you can know that isn't known. Nothing you can see that isn't shown. Nowhere you can be that isn't where you're meant to be. It's easy.

I would play all the parts of the song, show them the way it went together. Then I'd basically break down an arrangement - I wouldn't plan endings or beginnings - so they knew everything that was going on. I had the lyrics on a prompter so that I could remember everything I'd written, and I was able to just get into the groove and play with them. I think "Peace Trail" is one of the exceptions, where it's a later take. It just happened really quickly.

There's a screen direction in the script for the pilot where it says, 'Jim Harper, mid-20s, enters,' and it said something to the effect of: 'He's confident without being cocky. He has no idea that he could be considered attractive, because he saw All The President's Men when he was thirteen and never looked up.' It was just a great little gem of a screen direction, and I felt immediately from just that, that I had a good idea of how to play this guy.

Most of the note-taking happens while I'm watching television. It's a broad window on the world, and a lot of things are already established in my mind as things I say, things that I'm interested in, things that are fodder for my [stand-up] machine. And when I see something that relates to one of them, I know it instantly and if it's a further exaggeration and a further addition, or an exception - if it plays into furthering my purpose, I jot it down.

I always maintain that playing in an orchestra intelligently is the best school for democracy. If you play a solo, the conductor and everybody in the orchestra follows you. Then, a few bars later, the main voice goes to another instrument, another group, and then you have to go back into the collective [sound]. The art of playing in an orchestra is being able to express yourself to the maximum but always in relation to something else that is going on.

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