Quotes About Play

It's not how good you can play when you play good. It's how good you play when you play bad and we can play as bad as anyone in the country.

My policy is not how fast you play, it's not how much you play but it's what you play and where you play it ... play for the commercial side of the music ... the word I still use today is called "simplicity" .. it is so important that you use simplicity in your playing and in your music.

Work with good directors. Without them your play is doomed. At the time of my first play, I thought a good director was someone who liked my play. I was rudely awakened from that fantasy when he directed it as if he loathed it. . . . Work with good actors. A good actor hears the way you (and no one else) write. A good actor makes rewrites easy. A good actor tells you things about your play you didn't know.

You don't play boxing. You really don't. You play golf, you play tennis, but you don't play boxing.

A lot of kids just want to go play basketball, but they don't know to play and they don't have the skills to play. I think just the skill development right off and then play all you can, but don't sacrifice your skill development by just playing and not working on the specifics of the game.

The perfect state, the summum bonum, is Play. In play, life expresses itself in its fullness. God's life is play. Adam fell when his play became serious business .

I find it's very confusing when one critic tells you one thing and one tells you something completely different. Unless all the critics agree on parts of the play that just didn't work. I have stopped reading reviews, because I find writing is all about courage. You must have courage when you start writing a play and you cannot have the voice - you must write things out. You cannot have the voice of a critic telling you, "That didn't work in that play, you cannot make it work in another play." Every time you do a production, it's an experimentation.

As a player, remember that the bench is not a prison, but an extension of the first group. Concentrate on the quality of your play when you do get into the game. If you play 20 minutes, play the best 20 you can possibly play.

As an actor, the only thing we can do is play the truth at that moment. Because at any point in time if you play the future, or you play that you know something that the audience does not know, it kills the illusion of reality.

I can play a bunch of instruments but drums? My brothers a drummer and Ive always been jealous that hes such a good drummer. I always try to play but its always kinda just bashing. I can keep time but no one really wants to hear me play drums.

But you have friends. You have a lot of friends. What do you offer your friends to make them so supportave. What do you offer your friends to make them so supportave what do you offer. " ...if I could remember any more of my lines I'd add them so basically this is a preface to the whole play. I would like to quote the whole play. Currently my mind is afraid to remember the play.

Did you know, throughout the cosmos they found intelligent life forms that play to play? We are the only ones that play to win. Explains why we have more than our share of losers.

I'm a natural piano player. So all the practicing I do at this point is in my head. If I don't play for a year, my chops aren't going to get any worse. I've spent my time playing scales, and I don't necessarily want to play any faster than I play. So everything I do at this point is more philosophical.

So, think about how you use a disc that you own of an Xbox 360 game. If I buy the disc from a store, I use that disc in my machine, I can give that disc to my son and he can play it on his 360 in his room. We both can't play at the same time, but the disc is the key to playing. I can go round to your house and give you that disc and you can play on that game as well.

It was really interesting to be editing the film [Trust] in New York and directing the play in Chicago, and one definitely informed the other. The play probably benefitted more because I realized what scenes could be cut, and I cut those scenes from the play.

Of course men play roles, but women play roles too, blanker ones. They have, in the play of life, fewer good lines.

And now, in honour of the 150th anniversary of Beethoven's death, I would like to play 'Clear the Saloon', er, 'Clair de Lune', by Debussy. I don't play Beethoven so well, but I play Debussy very badly, and Beethoven would have liked that.

I always have a guitar with me. Actually, I've got several, I play every day. And I enjoy it. I'm never very far away from them. I swear I only ever get a couple days when I'm away from a guitar, and I never like it! There's always one close by, and I play every day. Or I'll be working on something in the studio and play around a bit. It's an extension of me, really.

I just woke up one day when I was six and I wanted to play the violin. Then, six years later, I didn't want to play the violin, but I wanted to sing and play the guitar.

My work is play. And I play when I design. I even looked it up in the dictionary, to make sure that I actually do that, and the definition of “play,” number one, was “engaging in a childlike activity or endeavor,” and number two was “gambling.” And I realize I do both when I’m designing.

I feel like it's really important for an actor to play different roles so people can see, "Oh, he can play that guy or he can play this guy." You're not just "THAT guy," that cowboy guy, that whatever guy. Then you are limiting yourself.

Children need the freedom and time to play. Play is not a luxury; the time spent engaged in it is not time that could be better spent in more formal educational pursuits. Play is a necessity.

Play is often talked about as if it were a relief from serious learning. But for children play is serious learning. Play is really the work of childhood.

What I think I've been able to do well over the years is play with pain, play with problems, play in all sorts of conditions.

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.

I'd love to play a Bond villain. Yeah, I'd love to play a Bond villain. Everyone always says this to me; they always say, 'You've got to be a Bond villain', 'We're going to make you a Bond villain...' But they've never, ever approached me, I've never had a whiff of it. I think I'd love to play a Bond villain; I'd have great fun.

The literary game is the abyss of human society itself: interactive, playful and tragic. We can't live alone. For me, Robinson [Crusoe] is either a false myth or else he represents the denial of human society. We can't play by ourselves. In literature, it's even more complicated, because one has to play with an indeterminate number of players simultaneously and every game is different. The other player can abandon your game at any time...to go play chess.

There aren't any songs that I would call impossible to play live, but some are difficult. A lot of Queensryche songs are difficult to play live. It's quite a difficult question to answer because everybody (In the band) has their own opinion of what's difficult to play.

It's not easy to play your best for 40 weeks. It happens every year, I don't play well in Rome or Hamburg -- I don't know why -- but then I play well after that.

I would love to play Marlene Dietrich in a movie. My dad's from Germany and so I feel like that would be a really interesting person to play.

[The child] takes his play very seriously and he expends large amounts of emotion on it. The opposite of play is not what is serious but what is real.

I ain't got no problem in Boston, I especially like the attention. I know that I'm one of the top guys in this game and all the attention is on me, I got a lot of people on my shoulder but I'm human. I like to go. I like to have fun. I like to do this and that but I gotta represent Boston and the Red Sox in every way that I do outside this game. ... Like I said I get paid to play baseball no [matter] where I go to play I still gotta go and perform even if I like it or not.

My dream role is to play in a story of how the Joker became the Joker, and I would play the young Heath Ledger.

This is a group playing together and that's the only way, I feel, this play can be successful and moving. I am so lucky to have the people that are in it. When I came here I didn't know who was going to be in the play.

I only want to play basketball, and play it well and be happy about it. But I realize that with being famous, comes a lot of demands.

I was never on a mission to be an NFL quarterback. I wanted to be a good high school player, and I worked hard at that. That made me good enough to play in college and then I wanted to be a good college quarterback. During college I played well enough to make it into the NFL. I never took it for granted and really wanted to play hard at each level and I have always had a lot of fun doing what I wanted to do.

My dad wanted me to play when I was a kid, so I learned to play the guitar. I pursued a career in music because I love it so much and I enjoy what it does to those who hear it.

I feel that I have an obligation to jazz and also to myself to play as good as I can play.

I don't want to restrict the life of a play to a particular production. The original actors might leave after the first six months, and I want the play to last 30 or 40 years. You write for the character, not the actor on the stage.

I suppose, writing a play is finding out what the play is.

Paintings may not have nearly the power to convert people that the printed or spoken word has, but each man has his part to play in the human and divine drama - some persons just a few lines, others whole pages. To refuse to play one's role at all is not the answer. It is better to light one candle than to curse the darkness.

I think it's interesting that when you play a lesbian, people ask you if you're a lesbian, but if you play a serial killer, nobody asks you if you're a serial killer.

I love the game - and I hate the Russians because they've almost ruined it. They only risk the title when they have to, every three years. They play for draws with each other but play to win against the Western masters. Draws make for dull chess, wins make for fighting chess.

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

I turn 30 next month, and in my 20s, I've been in this limbo of being too old to play the young lead, and too young to play the 30, 35 - year - old. I've always had an older head on my shoulders because I've hung out with older people. I was in television shows with older actors, and when I was 15, 16, 17, I sat up in hotel lobby bars with older actors until the early hours of the morning hearing them tell stories. I've always been drawn to older characters and I've always struggled to get into the younger roles. It feels good to be finally getting to an age where I'm playing my age.

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.

Every time you get into a new job, new location, you have an amazing opportunity in front of you. You get to play dumb for as long as people will allow you to play dumb. You get to ask all the dumb questions, you get to ask multiple people the dumb questions, and you get to make mistakes. Thats how you stand out in the crowd.

Education isn't play--and it can't be made to look like play. It is hard, hard work. But it can be made interesting work.