Quotes About Play

My mom always told me I should have a Plan B. I said that if I'm not going to play guitar I'm going to play drums. And if I'm not going to play drums, I'm going to play bass. I always just wanted to play music. I was completely obsessed.

The linebacker has to make multiple, multiple decisions on every play. Not only what his assignment is and what the play is, but all the way along the line, different angles, how to take on blocks, how to tackle, the leverage to play with, the angle to run to and so forth, the technique. So many different things happen in a split second during the course of the play, just like it is for a quarterback. The more of those things that you can do right, slow down, get the most important things, not get distracted by all the stuff that's happening, but just really zero in on a target.

Learning to play the guitar is a combination of mental and motor skill acquisition. And to develop motor skill, repetition is essential... Whenever musicians have trouble executing a passage, they generally tend to blame themselves for not having enough talent. Actually, all that's wrong is they don't know where their fingers are supposed to go...you should learn the piece in your head before you play it. And when you do play it, play it so slow that there's no possibility of making a mistake.

I didn't want to play a lawyer. I didn't want to play a doctor. I didn't want to play a single dad. I wanted to do something I felt I could learn from, something that would be a challenge and something that would not dry up.

You gotta be the right size, height, speed - all those are a big factor in what position you play. If you love the game, play the position you love. Some positions get paid more, but at the end of the day you gotta play the game you love.

When we treat children's play as seriously as it deserves, we are helping them feel the joy that's to be found in the creative spirit. We're helping ourselves stay in touch with that spirit, too. It's the things we play withand the people who help us play that make a great difference in our lives.

It may be unfathomable in architecture, but it is very practical, or routine, for a person in theater to use action. You have the line, "Come home, son," but you can't play that line by going out and being a mother; you can't be a noun. But you can play to smother your son; you can play to grovel to your son. Again, the real information is carried in action. And, to an annoying degree, theater people talk to each other in infinitive expressions. If you don't have a vivid verb to describe what you're doing, you're probably going to be a pretty bad actress.

When I started off as an actress, I did at a play at the Taper Too Theatre here in Los Angeles, called 'In The Abyss Of Coney Island.' That was more of a dramatic play. It was a small theater house. This was the first time I was literally on the road, doing a play, for four months.

I never know who's influencing me at any time. I mean, I can take a play by Brecht and adapt it, I'm consciously adapting that play, or, as I've done with the Greek classics, Euripides and Oedipus, and I'm consciously adapting that play. Whether it influences me or not, I think it's the critics, the analysts who have to decide that. Me, I don't feel that I'm under the influence of any such sources.

I want to play for my country, play for everybody, and I want to be there. I just feel like I have so many feelings and I want to play in the Olympics and feel how special if I can win that tournament.

I could play through anything. But just thinking about I have kids, longevity, I probably would have made more of a conscious effort not to hit the floor, but at the end of the day in the playoffs, you can't play that way. You just have to play and give it your all.

I produced a play in New York that got nominated for an Outer Critics Circle Award for Best American Play.The play is called Stalking The Bogeyman. It was a story on This American Life, and my former roommate is the artistic director of the New York Repertory Theater. He heard the NPR show, contacted them, and essentially - shortest synopsis ever, like I'm the Cablevision guide button - it's the true story of a man stalking and plotting to kill the man who raped him when he was seven. It's by a brilliant reporter named David Holthouse.

If love is a play, this play, as old as the world, fiasco or not, it is, all in all, the least bad thing that has so far been found. The roles are trite, I admit, but if the play had no value the whole universe wouldn’t know it by heart

I think the most important way to understand play is that it's this property that's in things. Like there's play in a mechanism. For example, there's some play in the steering column before it engages as you're turning the wheel.

It's a luxury to play. I get to play basketball for a living. I'm a lucky guy and I'm thankful for everything I have and what I get to do. I realize how many people would give their left foot to just play one game in the NBA. This is the NBA!

Anything you can do to express yourself is a form of art. That's why I love my craft so much. I always wanted to play other artists. If I can't play an instrument, then I want to play a character that can. There is an artist behind everything, and I think that's beautiful.

This is the United spirit: you can play everywhere. If you want to win, you have to accept it. You can see Antonio Valencia playing right-back as well. Only because United play like a team. The team is the star, not only one player, that’s why you can put me and Michael Carrick at centre-back; we’re going to win because it’s the team effort and team spirit. That’s why I’m confident. I’ve said that from the beginning – in six years playing here – the Man United spirit… no one team has got that spirit. This is United. This is why I’m so proud to play here.

I realized that many men are happy to play a supporting role to another man, but they are much less happy to play a supporting role to a woman. People are saying we need more females in our industry and we need more female-driven stories, but that takes the men of bankable star quality to come forward and play supporting roles in those films, because ultimately that's what the women have always done. We've always lent our name value to male-centric stories, and now we're going to have to ask the men to swallow their pride, because it seems that it's about pride.

You play, you win, you play, you lose. You play. It’s the playing that’s irresistible. Dicing from one year to the next with the things you love, what you risk reveals what you value.

I want to retire in New York, let's be quite frank. I think a lot of people jumped the gun when I said I wanted to be a free agent. And yeah, I want people to come to play in New York. I want them to want to play in New York. I want New York to be that place where guys want to come play.

If the play works in an emotional and engaging way purely from what's on the page, then what's on the stage will be the icing on the cake. If the play didn't work as a play on its own terms, none of the magic, none of the special effects or theatricality of it all, would add up to anything.

And in an era where radio stations that are inclined to play Styx music are your classic rock stations and the stations that play current music look at us as dinosaurs - the only way we could reach people with our new music, generally, is to perform live.

I get to kind of pretend I'm going to play baseball. I get to work out and do all the stuff that was part of baseball. I just don't get to play.

I wanted to play for the New York Yankees. That was the bottom line. I wanted to be there and play in that new stadium.

A child who does not play is not a child, but the man who doesn't play has lost forever the child who lived in him and who he will miss terribly.

I bought one of those Learn How to Play Guitar Chords By Yourself and it shows you the diagram where to put your hands and I took that in my room, sat with my singles and learned how to play guitar.

I love my family but my family - they're the type of people that never let you forget anything you ever did... I was in the first grade Christmas play - I'm playing Mary. Now, during the course of the play, I dropped the baby Jesus... They still talk about this. I go to my family reunion, and one of my cousins just had a baby. So I'm like, 'Oh, that's a cute little baby. Let me hold the baby...' And my aunt runs over, 'Don't you give her that baby! You know she dropped the baby Jesus!'

Sport for me is about inspiring kids. Here's the rules, here's the play area, sometimes you win, sometimes you lose. This is all about teaching kids how to approach life. If we're not playing sport to benefit kids, I'm not really sure why we play sport.

An actress can only play a woman. I'm an actor, I can play anything.

I don't play favorites with people. My basic philosophy is that the only way to make the world a better place is by bringing something beautiful to every single person you run into at every moment of the day, so how can you play favorites with somebody?

Maturity - among other things, the unclouded happiness of the child at play, who takes it for granted that he is at one with his play-mates.

There's Pele the man, and then Pele the player. And to play like Pele is to play like God.

First of all, I would shoot myself if I ever had to play straight-forward characters that really don't have much of a past. Maybe it's just that I'm not a good enough actor to have to embellish, but I like having these really, really rich roles to play.

Until 45 I can play a woman in love. After 55 I can play grandmothers. But between those ten years, it is difficult for an actress.

Well, you know, what's better? To play a character who stays stuck in the same baggage year after year, or to play a character who gets beyond that and goes to a new level?

When I went in there, we used drum machine on "Time After Time" and "Human Nature".We don't use the drum machine to play a pattern. You play the pattern by being consistent.

When I have to play the same role every day, I have the flexibility to play the character in so many different ways. It's almost like playing five different roles.

We're going to play better, and we're going to play harder.

Every so often you get to play wonderful characters maybe at the wrong time in your life. Sometimes, you get to play terrible characters at a really great time in your life. Sometimes, the right character comes along at the right time.

I'd rather play with 10 people and just get penalized all the way until we have to do something else rather than play with 11 when I know that right now that person is not sold out to be a part of this team.

You can play hard. You can play aggressive. You can give 120% but if one guy is out of position then someone is running through the line of scrimmage and he is going to gain a bunch of yards.

It bothers me when I hear these reporters and jocks get on TV and say: 'Oh, no guy can come out in a team sport. These guys would go crazy.' First of all, quit telling me what I think. I'd rather have a gay guy who can play than a straight guy who can't play.

I wrote a one-act play - I can't remember the name of it, but it was really about the way women are perceived as leaders. In the play, Catherine the Great would say things like, "You know, John F. Kennedy had extramarital affairs and no one says anything. But I bang one horse and now I'm a horse banger for all eternity? That's it? That's what I am?"

Even when I was coming through school I was a loner and I used to study music and listen to it and play it and play it, and I was in bands.

Whenever you have to come to my house and convince me to leave my home and play football, deep down in my heart I really don't want to play, but I really don't want to let you down.

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.

What is the purpose of writing music? One is, of course, not dealing with purposes but dealing with sounds. Or the answer must take the form of a paradox: a purposeful purposeless or a purposeless play. This play, however, is an affirmation of life--not an attempt to bring order out of chaos nor to suggest improvements in creation, but simply a way of waking up to the very life we’re living, which is so excellent once one gets one’s mind and one’s desires out of its way and lets it act of its own accord.

I play- it's kind of like a slice-of-life, LA women in their forties, playing forty kind of what's their friendship like, and what's their life like and so I just play one of the four friends.