I can play a lot of different instruments adequately but nothing really well.
My major contribution to the format was to suggest that I be able to step out of the plot and speak directly to the audience, and then be able to go right back into the action. That was an original idea of mine; I know it was because I originally stole it from Thornton Wilder's play Our Town.
A play visibly represents pure existing.
T was a brilliant feeling to make my debut and to hear the crowd chanting my name. It made me play much better.
Don't just play your way around the course. Think your way around way around the course.
It's an incredible play, and not only that, that's the type of plays Malcolm makes for our team.
I really want to play Princess Leia. Stick some big pastries on my head. Now that would be interesting.
It's good to be busy on a film set because there is a lot of sitting around, so if you've got two roles to play at one time, then that's great to do.
The traditional gender ideals of the strong-silent man who plays his cards close to his chest and the mysterious woman who disguises her feelings with coyness go so far as to make a virtue of being unavailable and secretive. But wholehearted intimacy can develop only where two people are equally forthcoming and self-revelatory. To take the risk of loving, we must become vulnerable enough to test the radical proposition that knowledge of another and self-revelation will ultimately increase rather than decrease love. It is an awe-ful risk.
After 50, the rock 'n' roll road is a little absurd. It's very difficult to play these little places. You're out there on a rickety old bus with no place to shower.
To me, there's nothing worse than going to a concert and you're so looking forward to hearing your favorite song and they never play it. You're gutted.
If you're going to play a character who has a deformed face, you should have a deformed face.
My mother would take me to jazz concerts in the park and everybody was smoked out. She gave me the intro and then she forced me to play an instrument to keep me out of trouble.
The best thing I ever bought will always be the next piece of musical equipment. I'm always interested in new techniques and there seems to be a never ending supply of great equipment to play, and to play with. My studio is a bit of a playroom.
Waiting for Godot. . . has achieved a theoretical impossibility—a play in which nothing happens, that yet keeps the audience glued to their seats. What's more, since the second act is a subtly different reprise of the first, he has written a play in which nothing happens, twice.
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.
I was 3 years old and Mary Poppins [1964] made an impression on me that was seismic, apparently. I fell into some kind of total creative, imaginative rapture over that movie that propelled this industry of Mary Poppins drawings, plays, performances - just an obsessive, creative reaction to it.
I injured myself quite badly when I was seventeen. I broke my ankle, and it didn't heal in such a way that I could keep dancing at the level I wanted to. It wasn't like, 'Oh my god, I'll never play the violin again. ' I could, but not at the level I wanted. So, I segued into acting, the other thing that was also meaningful to me.
A lot of coaches play percentages when it comes to me, but that's just a way of saying that you can't stop me.
I do not play games. There is not time for it. When I get through with work, I don't want anything that requires the working of the mind.
