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“On the whole, we think that the greatest victories are yet to be won, the greatest deeds yet to be done, and that there are yet in store for our peoples, and for the causes that we uphold, grander triumphs than have ever yet been scored. But be this as it may, we gladly agree that the one plain duty of every man is to face the future as he faces the present, regardless of what it may have in store for him, turning toward the light as he sees the light, to play his part manfully, as a man among men.”

“I think it's my job to like any character I play - to understand and appreciate a character, to look at the world as much as possible from their point of view. I don't look at it just technically: learn the lines, figure out what gestures I want to bring and play, and that's it. I like to learn as much as I can about the person, and see what happens.”

“I don't think I want to play title roles. I don't want to be the face on the poster. I don't want that pressure of having the success riding on my shoulders. I just want to play the most interesting parts. I actually think it's incredibly rare to get an interesting female character that is the lead in a film. Usually the character parts are so much more interesting to play.”

“My advice to women who habitually gravitate toward musicians is that they learn how to play an instrument and start making music themselves. Not only will they see that it's not that hard, but sometimes I think women just want to be the very thing they think they want to sleep with. Because if you're bright enough--no offense, Tawny Kitaen--sleeping with a musician probably won't be enough for you to feel good about yourself. Even if he writes you a song for your birthday. Don't you know that a musician who writes a song for you is like a baker you're dating making you a cake? Aim higher.”

“Hamlet 's character is the prevalence of the abstracting and generalizing habit over the practical. He does not want courage, skill, will, or opportunity; but every incident sets him thinking; and it is curious, and at the same time strictly natural, that Hamlet, who all the play seems reason itself, should he impelled, at last, by mere accident to effect his object. I have a smack of Hamlet myself, if I may say so.”

“I think I fully commit myself to any role to the extent to which I can. In other words there's some roles that maybe it's just not there, in other words on the page. You know, I mean your job is you need to play the governor and that's what you do. I mean I'm not going to stay up all night if I'm playing a functional role. And I've played a couple of functional roles. And so I'm not going to do anything other, look he's a functional guy. He says hey mister, you forgot your hat.”

“In Bergman's world I represented a sort of intellectual, skeptical, ironic person, rather cold and frustrated. When I went abroad and made films in Italy and other places, I was used in different ways. I was rather often cast as crazy people, maniacs. It was very good for me and it was fun because it is nice to play crazy people if you are not in reality. And I think perhaps that changed how Ingmar saw me. Suddenly I was on the more magical side of his world, playing the people with fantasies, variety, the artists.”

“This is the eighth game in the series and when we work on a Mario Kart title, we work on courses and we create them and then we work on them again, and again, and again, and we revise until we come up with something that we think is going to be fun for everyone to play over and over again. So we have a lot of confidence in our ability to do so, but we understand what a tough challenge it is to create those courses.”

“I played sometimes about as dull as you can play it. I did things the right way, you know. I think I modeled my playing ability after one of the all time greats, Joe DiMaggio. You always found Joe, when he played, you know, he always threw to the right base. He ran, he caught the ball. He did all the right things. He was an idol of mine in the outfield. He played the game the way it was supposed to be played.”

“Everybody thinks that you go to Africa and you build a school, or you teach English, or you build a hospital. But actually all you need to do is play football with kids for six months and then after they've trusted you, you tell them about the truth of Aids, and that their grandmother didn't die from witchcraft, she died from Aids. And that's the biggest difference you can make.”

“The dreams of the past - whether it was public TV being rolled into the classroom to teach Spanish, or the film projectors or the videotapes or the computer-aided instruction drill systems - the hopes have been dashed in terms of technology having some big impact. The foundation, I think can play a unique role there. Now, our money is more to the teacher-effectiveness thing, and technology is No. 2, but I'll probably spend more money on the technology things.”

“A human body can think thoughts, play a piano, kill germs, remove toxins, make a baby all at once. Once it's doing that your biological rhythms are actually mirroring the symphony of the universe because you have circadian rhythms, seasonal rhythms, tidal rhythms you know they mirror everything that is happening in the whole universe.”

“I remember sitting in my room and thinking of where it all went wrong and how I ended up losing control of everything, and I realized I hadn't asked myself one question: And then what? That was my most important lesson. I learned to think about the consequences before the action and that saves me, to this day, from a lot of trouble. If you play it down the line, you'll start making better choices.”

“I was in Chicago in 1994 and at this time I had no thoughts of coming back and playing the game of basketball, Bryon Russell came over to me and said, "Why'd you quit? You know I could guard you." When I did come back in 1995 and we played Utah in '96, I'm at the center circle and Bryon Russell is standing next to me. I said, "You remember what you said in 1994 about, 'I think I can guard you, I can shut you down, I would love to play against you?' Well, you're about to get your chance.”

“Instead of thinking in terms of chords, I think of voice-leading; that is, melody line and bass line, and where the bass line goes. If you do that, you'll have the right chord. [These voices] will give you some alternatives, and you can play those different alternatives to hear which one suits your ear. Keep the bass line moving so you don't stay in one spot: if you have an interesting bass line and you roll it against the melody, the chords are going to come out right.”

“In playwriting, you've got to be able to write dialogue. And if you write enough of it and let it flow enough, you'll probably come across something that will give you a key as to structure. I think the process of writing a play is working back and forth between the moment and the whole. The moment and the whole, the fluidity of the dialogue and the necessity of a strict construction. Letting one predominate for a while and coming back and fixing it so that eventually what you do, like a pastry chef, is frost your mistakes, if you can.”

“For the sake of my children and grandchildren, I hope that the human talent for self-destruction can be successfully controlled, or at least channelled into productive forms, but I doubt it. I think we are moving into extremely volatile and dangerous times, as modern electronic technologies give mankind almost unlimited powers to play with its own psychopathology as a game.”

“The avant-garde theater is fun; it is free-wheeling, bold, iconoclastic, and often wildly, wildly funny. If you will approach it with childlike innocence -- putting your standard responses aside, for they do not apply -- if you will approach it on its own terms, I think you will be in for a liberating surprise. I think you may no longer be content with plays that you can't remember halfway down the block.”