Quotes About Play

We don’t have to do a bunch of things to figure out how to win the Ryder Cup. Just go play golf. ... I’m a little bit too casual probably about a lot of things, but you can’t force good play. Good play comes from good hard work and actually being prepared to play, not being forced to play.

I was doing a Broadway play, and I was really new to this business. The Broadway play was my first job, literally. The play next door was a musical called Falsettos. The director got hired to direct this Michael J. Fox movie and was looking for a kid who could play brash and salty and mean [in Life With Mikey].

People have their own interests and they want to play a certain kind of music. People want to play in orchestras. They want to play on Broadway. Those that want to play traditional jazz and have no interests in the ideas of improvisation. So in spit of the fact that there are fifty violin players, you might only narrow it down to ten and within those ten, there might only be three who have the right kind of background and credentials to deal with what you need to deal with. Everybody's got their own special thing that they are after and a lot of times you don't have time to be training people.

If you are opening a play, a play that's really about something, a play that's really about ideas, you have to find a way to sell that play.

Play with heart; Play with passion; Play within yourself; Have fun; Play like a champion.

We have to be mentally prepared for every team we play. If we play a team who has a big name on their chests, then we are going to come out ready. But if we play a team who doesn't have a big name or a star player, we have a hard time coming out ready.

In everything was the spirit of children's play - not the rule-ridden, time-killing play of adults that is a preparation for death, but the busy and credulous play of children that is a preparation for life.

To play so as to be relaxed and refreshed for work is not to play, and no work is well and finely done unless it, too, is a form of play.

I say, play your own way. Don't play what the public want - you play what you want and let the public pick up on what you doing - even if it does take them fifteen, twenty years.

Both T.S. Eliot and I like to play, but I like to play euchre, while he likes to play Eucharist.

Buzzing at the Sill is from a Theodore Roethke poem called "In a Dark Time." I'd heard a small part of it in a play, a sort of sci-fi play about morality in a virtual reality universe. Nothing to do with the book precisely, but it was a great play.

Hearing your voice and your instrument kind of breathe in the room, it affects the way you perform the songs. For instance, if you have that reverb, you can give the songs a little more space. You can play them a little slower or you can play less of the guitar part and just let it open up, which I really love. It's so nice to play a listening room, because the audience feels a certain way too.

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 don't play accurately--any one can play accurately--but I play with wonderful expression. As far as the piano is concerned, sentiment is my forte. I keep science for Life.

Improvisation is a great mystery. You play something, and you play an answer to it. Then you play something to wrap it up. Nothing is going through your mind; you're not thinking of anything. Every now and then you surprise yourself. Where did that come from?

In the opening a master should play like a book, in the mid-game he should play like a magician, in the ending he should play like a machine.

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.

I could sing and play as well. I've got some brothers; one of them is the drummer in the band. They're good musicians. I play for fun. They play properly. Music in general, I grew up in a house of musicians. Everybody's life has a soundtrack, I'm sitting here talking to you but there are horns beeping outside. I know I'm in New York. That's an element in the film as well. How strong that sense can be.

Play hard, play smart, play together, have fun.

We don't play slow and we don't play fast, we play half fast

Plays are literature: the word, the idea. Film is much more like the form in which we dream - in action and images (Television is furniture). I think a great play can only be a play. It fits the stage better than it fits the screen. Some stories insist on being film, can't be contained on stage. In the end, all writing serves to answer the same question: Why are we alive? And the form the question takes - play, film, novel - is dictated, I suppose, by whether its story is driven by character or place.

Don't play hard to get, play hard to forget.

The opposite of play is not work—the opposite of play is depression.

I found it was my good fortune to somehow be able to work in these forms that I loved when I was a kid. I love movies and I could write screenplays. I love theater and I could write plays. I mean, they would be my own, I could never write what was used to be called the well-made play. But my first play, "Little Murders," turned out to be a great success and a great influence on plays at that time.

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.

If you think of dramaturgy in North America, which is so realistic and so literal sometimes, sometimes what theaters - especially dramaturgs - ask for is more information, which sometimes can really weigh down a play. There's only so much information a play can have. If you start putting in so much information, it becomes something completely different, it doesn't sing.

In strongly opposing the world of play to that of reality, and in stressing that play is essentially a side activity, the interference is drawn that any contamination by ordinary life runs the risk of corrupting and destroying its very nature.

Yeah, I've always been accused of having a sense of mischief and I'm very flattered that you say you can see it in the roles I play, because I think that's important, even if I do play intense characters, like especially Christine Cagney.

I love Doctor Who and I remember the first one, which was wonderful in its low-tech quality. I also loved the theme song, which sounded like The Cure to me. Which character would I like to play in Doctor Who? Who's the bad guy? The Dalek? OK, I'll play him.

If every four years in a presidential election, if you're a New Yorker or a Californian, and you realize that you are so much less important, that nobody is actually kind of targeting your needs because they're laser-focused on what will play in Florida and on what will play in Virginia.

I started to play noise on my cello because I felt a deep personal connection to it. I mean, I still love all the beautiful sounds of the cello as much as anybody but it's only when I play certain sounds I know that the cello really presents who I am; not my emotions but who I am as a person.

I think the moment I discovered I definitely wanted to act was when I saw a play alone by myself when I was fourteen. Maybe it was a Moliere play? I discovered the atmosphere of the theater, and I knew I wanted to be an actor.

The biggest challenge was the cost to play the sport, and this is a challenge that my parents faced. They relied on the community and friends and family for support, and I learned to play hockey using second hand equipment.

Jimmy Fallon and I play regularly at the Bayonne Golf Club in Jersey. He's eighteen holes of fun. Any time we play he has moments of brilliance, but also moments of utter catastrophe.

When we play Jenny Don't Be Hasty, that's cool because everyone really dances. It's between that and when we play Loving You, that's when you give it your all. Well you give it your all for all of it but that's like proper end singing with your full strength put in.

I was born just after the end of World War II, and with my friends in our little suburban backyards in New Jersey, we used to play war a lot. I don't know if boys still play war, they probably do, but we were thrusting ourselves into recent history and we were always fighting either the Nazis or the Japanese.

I was probably 16.I played - I tried to play these songs that I had written. And, this was a common theme when I was younger: I would write a song about somebody, and they would come to my show. I wouldn't be able to play the whole thing, because, there would be some giant, loaded secret coming up in like, the third verse, or something.

To play is to listen to the imperative inner force that wants to take form and be acted out without reason. It is the joyful, spontaneous expression of one's self. The inner force materializes the feeling and perception without planning or effort. That is what play is.

I used to play drums when I was a kid, play the trombone.

A play is a parenthesis that contains all the material you think has to be contained for the action of the play. Where do you end that? Where the characters seem to come to a pause... where they seem to want to stop - rather like, I would think, the construction of a piece of music.

At this stage of my life, I've dedicated myself to playing what I want to play, how I want to play it for the rest of my time. Regardless of whether one might like it or one might not like it, this is where I am.

I've written virtually as long as I've acted, it wasn't a sudden transition. I acted in my first play when I was 16 and I wrote my first play when I was 17.

I never pick a film based on the genre; I choose the characters I play. I will think it through thoroughly - whether I am the best person to play the character, able to excel in it and match with the other characters.

But we go out as a band because we enjoy each others company, first of all. And its the payoff for me, to go out and play my art and still play guitar, which is my life.

When you play good, everything is good, but when you dont play so good, everything is bad. Even when you think there are good things, they still say bad things.

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.

I certainly have never been an actor who can play the Everyman guy - or, I don't tend to get those parts. I've tended to play eccentrics. I've played a lot of villains, of course.

I play Rock Band, which is Guitar Hero times ten. You can play with four people, so when you have parties, you have a real band. Nobody ever wants to sing, so I'm always the one throwing down on the mic.